PS 3523 
.E25 M8 »J^^(Q, 

Copy ^ 



PRICE TWENTY-FIVE CENTS 



OCT 10 1898 




.rf^""' 



4 



I WHAT'S NEXT? 

4 A Farce-Comedy in Three Acts, by Bob Watt. 



1 PRICE, 25 CENTS. 

^ 

^2 Seven male, four female characters, with four utility parts to be doubled by 

,K the preceding. If desired, a lot of school children can be worked into the 

i^ first act. Two interior scenes, School Room and Parlor ; easily staged ; can he 

■^ played in any hall. A "specialty" play that is simply three acts of laugli. 

^ Has a first-rat° leading soubrette role (Country Girl). Audiences will giggle 

CJ over this play for a month and then want to see it played again. 



J CAST OP CffARACTERS. © 

J PouLY ToKE, a conundrum ) OnntM-offaTonri $ 

i MakyAnn Fogarty, from the Emerald Isle ) bouoretie L,eaa. ^ 

5 Rose IA&vdkr, a victim of tJie oreen-eyed monster., ...Juvenile Woman. © 

J Grrtik Gv&n, of uncertain age, and after a husbar>d Ingenue. ^ 

% Mrs. Wallace, a fascinating tvidow on the lookout for ^ 

^ number two ** ^ 

^ Dr. Charles Ohcntzer, generally called "Chub," who V 

9 takes what tarns up Lijrfct Comai<1y. ^ 

9 Moses Madder, an artist with a great head for fcttsiwess. Eccentric Comedy. C 

5 Phineas Poke, one of the deestrict school board, and pro- © 

P priefor of Poke's Pine Potion.. Eccentric Old Man. ^ 

% Zeph Somers, a rustic with "Injuns" on the bra,in Eccentric Comedy. ^ 

% Timothy Trenwitii, a. specimen from Texas, in search of ^ 

i his daughter ^Comedy Old Man. s; 

^ Vi UX.Y ^\1AJY , a dudelet from Gotham, Comedy Dude. ^ 

P Michael, McGiLP, wttn ttu de /oi>iesi „ Dialect Comedy. © 

P © 

I Time of Representation, Two Hours and a Half. ^ 

P ^ . © 

1 © 

i' SYNOPSiS OP INCIDENTS. C 

ff ACT I.— The Bogtown District School. Chub's story.— Scheme No. 1.— 5 

ij "Have >ou a week-day and a Sunday name?"' — Poke's Pine Potion. — Tlie J; 

P compact.— Polly's first lesson in love.— One of the deestrict school board.— © 

|ti Visitors. — " Washington crossing the Alps."— Scheme No. 2.— The school ex- © 

|\ amination.— Zeph makes a sensation.— The young idea out shooting.— © 

|, " Danged if it ain't like the circus ! " ^ 

I ACT II.— MosES Madder's Stui>io in New York. A domestic set-to.— Willy © 

I comes in, in a hurry.~"Bwing on the girl and the minister."— Polly paralyzes ft) 

% ihe dude.— "You're a pretty good liar, ain't you ?"— Hiring a "boomer."— ^ 

^ Chab and Polly.— Gertie gets gushing. — Timothy Trenwltb, from Texas.— ^ 

r Zeph has another conniption.— Getting some points from the w^idow.— A jolly s; 

J rowju the house. — Willie gets left.— Madder's schemes grow shaky. — "Fust 5^ 

> scalp for Zeph!" © 

I ACT III.— Scene as Eefork. A flattering arrangement.— " Look here, I © 

W ain't no angel ! "—Polly's plan.— Willie in trouble again.— Gertie and the © 

|> widow have another tiff,— " Suff erin' Cyrus, what shall I do!"— Another © 

^ scheme smashed. — Mary Ann Fogarty on the servant question.— Gertii. ^ 

5 catches a man at last.—" The circus is goiug to begin."— Willie runs amuck g) 

^ with wan av the f oinest. — Madder's masterpiece.— The " boomer " takes a gN 

€ trick.—" I'm as happy as ef I owned the hull state of Texas ! "—Gertie on the ^ 

^ warpath.— "O, Chub, that kerflumuxps me ! "—Willie and the widow.—" I've ^ 

g got a little lie and I can't tell a hatchet."— The last scheme knocked in the ^ 

S head.—" What's Next ? *' © 

I © 

^ J^" Copies will be mailed, post=pa{d, to ^ 

p any address, on receipt of the price. ..^^ © 

I HAROLD ROORBACK, Publisher, 132 Nassau St., New York. | 



My Lady Darrell 



OR 



A STRANGE MARRIAGE. 



j\ Drama in Tour Jfcts 



BY 



JOSEPH LeBRANDT 



Copyright, 1898, by Harold Roorbach 



t^ 



NEW YORK 
HAROLD ROORBACH, PUBLISHER 

132 Nassau Street 

Li 






MY LADY DARRELL. 



Notice. — The acting rights of this play are reserved. Amateurs 
MAY PRODUCE IT WITHOUT SPECIAL PERMISSION, but all others must first 
obtain the consent of the publisher, who holds the copyright. 

" Any person publicly performing or representing any dramatic or musi- 
cal composition for which a copyright has been obtained, without the con- 
sent of the proprietor of said dramatic or musical composition, or his heirs 
or assigns, shall be liable for damages therefor, such damages in all cases 
to be assessed at such sum, not less than one hundred dollars for the first 
and fifty dollars for every subsequent performance, as to the court shall 
appear to be just. If the unlawful performance and representation be wil- 
ful and for profit, such person or persons shall be guilty of a misdemeanor 
and upon conviction be imprisoned for a period not exceeding one year." 
— U. S. Revised Statutes, Title 60, chapter 3, section 4966. 



CAST OF CHARACTERS. 

Ai-iCE, afterwards Countess of Darrell LEAD. 

Viola Vaughn Genteel Heavv! 

'Lahy Da.-r^ui^'l, Roy's mother Straight Old Woman. 

Martha Paisey Character Old Woman. 

Kate Cripps Emotional Heavy. 

Mother Cripps Character Old Woman. 

Lord Roy Darrell Juvenile Lead. 

George Vaughn, al>ias Count Jura Genteel Heavy. 

Armstrong Dale Light Comedy. 

Sir Geoffrey Rawdon Straight Old Man. 

Captain Lionel Wyndham Juvenile Man. 

Joseph Pamey Character Comedy! 

Job Trotters Character Comedy. 

Toby Bruce Character Heavy. 

Dalton, Sergeant of Police UTILITY. 

Time. — The Present. Place. — England. 
Time of Representation. — Two Hours and a Half. 

Note. — This play can be produced by ten persons (six men and four 
ladies) by making the following particularly easy doubles. 

f Lady Darrell. / Martha Paisey. 

1 Mother Cripps. (Kate Cripps. 



{ 



Capt. Wyndham. / Joseph Paisey. 

Job Trotters. \ Dalton. 

Toby Bruce. ^^ /Armstrong Dale. 

\ Job Trotters, 



2 



/X~ 3(^/^ 



SYNOPSIS. 

Act I. — Scene i. The Paisey Farm. "Now, strike if you dare!" 
Scene 2. Lord Darrell's Estate. A Strange Marriage. 

Act II. — A lapse of four months. The Plot. The Insult. The 
Blow. 

Act III. — The Abduction. The Recognition. "You are the mur- 
derer of Capt. Wyndham ! " 

Act IV. — In London. "I'll rescue her] if it takes the last drop of 
blood in my veins ! " The Beggars' Paradise. Finale. 



COSTUMES. 

Alice. Act I. — Common gingham gown, with sunbonnet. Act II. — 
Handsome house-dress. Act III. — A handsome silk wrapper ; slippers. 
Act IV. — Very ragged dress. In make-up and choice of colors, she 
should contrast sharply with ViOLA. 

Viola. Act II. — Handsome house-dress. Act III. — A tightly fit- 
ting morning-gown. Act IV. — Dark street dress, hat, and heavy veil. 
She contrasts in coloring and make-up with Alice, — one blonde, the 
other brunette. 

Lady Darrell. . Act II. — Handsome house-dress. Act III. — A 
pretty wrapper. Iron-gray hair. 

Martha Paisey. Act I. — A common calico dress; handkerchief 
about neck; sleeves rolled up. Act IV. — A common dress of cheap 
goods ; bonnet and shawl. 

Kate Cripps, Act III. — A dark red dress, with fancy kerchief about 
neck; bright red kerchief tied around head; large earrings — a very 
gipsy-like appearance. Hat and jacket. Act IV. — Same as before, 
except that she wears a bandage on her head instead of the kerchief. 

Mother Cripps. A dark woollen dress, very old and faded ; small 
shoulder shawl ; hood. She has straggling gray hair, with pale make-up. 
Looks like a witch. 

Roy Darrell. Act I. — Shooting costume ; fore-and-aft cap ; boots. 
Act II. — Evening dress. Act III. — Black cutaway coat and vest ; light 
trousers. Act IV. Scene i. — Same as in third act. Scene 2. — Beggar's 
disguise ; viz., ragged coat, trousers, flannel shirt, and slouch hat ; false 
full beard (on wire). 

George Vaughn. Acts I., HI., and IV. — Dark, shabby suit ; slouch 
hat. Act II. — Evening dress. 

Armstrong Dale. Act I. — Shooting costume similar to Darrell's. 
Act II. — Evening dress. Acts III. and IV. — Black cutaway coat ; white 
vest ; light trousers. 

Sir Geoffrey. Act I. — Shooting costume similar to Darrell's. 
Act II. — Evening dress. Acts HI. and IV. — Black Prince Albert coat 
and vest ; dark trousers. 

Capt. Wyndham. Shooting costume similar to Darrell's. Or he 
may wear the undress uniform of a British ofificer. 

Joseph Paisey. Act I. — Rough gingham shirt ; straw hat ; rough 
trousers stuffed into boots. Act IV. — A cheap suit, rather loose and ill 
fitting ; paper collar on gingham shirt ; soft hat — he should look like a 
farmer in his best suit, which has had considerable wear. 



Job Trotters. A cheap suit much too small for him ; " high water " 
trousers ; very small derby hat with a very narrow brim ; paper collar ; 
very gay necktie. 

Toby Bruce. Rough coat and trousers — velveteen, if possible ; coarse 
shirt ; red kerchief about neck; cap. He has about a week's growth of 
beard. 

Dalton. Regulation "Bobby" uniform 



PROPERTIES. 

Act I. Scene i. — Tablecloth and black snake whip for Mrs. Paisey. 
Novel for Alice. Wheelbarrow, pitchfork, paper and pencil, for Paisey. 
Bouquet and long paper (poetry) for Job. Scene 2. — Shot-guns for Roy, 
Dale, Wyndham, and Sir Geoffrey. Roy's gun has a loop of wire 
attached to the trigger, for Jura to catch hold of. Roy's gun should be 
cocked before he enters ; great care, therefore, should be exerted to pre- 
vent a premature discharge and possible accident. Small basket, covered 
with white cloth, for Alice. Watch and pocket-flask for Dale. 

Act II. Furniture as per scene-plot. Pictures, bric-a-brac, etc., to 
dress the stage. Small bell off R. 3 E., to strike the hour. Cases of 
jewels and bouquet foi Roy. Card and pencil for Jura. 

Act III. — Bag containing silverware and cases of jewels for Toby. 
Fire-wood for Mother Cripps. Loaded revolver for Jura. Candle in 
tin candlestick, lighted, on table L. c. Key for JURA. Diamond ring to 
give Mother Cripps. 

Act IV. Scene i. — Locket and carpet-bag for Paisey. Valise for 
Mrs. Paisey. Scene 2. — Dish-pan, containing potatoes and potato-knife, 
for Mother Cripps. Placard " Help the Blind," shade for eyes, wooden 
leg, crutches and coins, for Beggars. Whiskey bottle for Mother 
Cripps. Coins for Roy. Diamonds in cases and loaded pistol for Jura. 
Some old quilts and rugs up stage. Candle in candlestick. Furniture 
as per scene-plot. Dagger for Mother Cripps. Red fire off r. 3 e. 



SCENE PLOT. 

Act I. Scene i. — Landscape drop in 4 G. Wood wings. Set house, 
with practicable door and steps, R. 2 E. Water-trough (half of a large 
barrel), L. c. Pitchfork stands against house, above steps. 

Scene 2. — Woodland, with wood drop in 4 G. , and wood wings. Clear 
stage. 

Act II. — Fancy interior boxed in 3 G., backed with a garden or land- 
scape drop in 4 G. Double door or arch c. in flat. Balustrade behind 
this opening, to represent a balcony. Doors R. 3 E. and L. 3 E., backed 
with interior backings. Door L. I E., leading to conservatory. Plants in 
pots near this door. Have heavy curtains or hangings at all doors. Sofa 
in centre of stage. Fancy table L. c. with small chairs R. and L. of it. 
Piano at L. 2 E. At R. 2 E. a small desk with chair in front of it. Just 
L. of these stands a screen behind which Alice retires so that she is con- 
cealed from the c. of stage while remaining in full view of the audience. 
A mirror hangs against L. wall, or stands on piano. Small stands for 



statuary or flowers, up R. C. and L. C. against the flat. Pictures, bric-a- 
brac, etc., ad lib., to dress the stage. This set should be as handsome 
and tasteful as possible. 

Act III. Scene i. — A plain chamber in i G. Doors R. c. and L. c. 
in flat. 

Scene 2. — Gothic chamber in 3 G. Doors C. in flat, R. 3 E. and L. 3 E. 
Tack old red curtains over all the doors, and back each door with a 
dark (stone) backing. At R. 2 E. an old chair without a back. At L. C. 
an old table with a rickety stool R. of it. Three or four old wooden 
boxes up L. C, near the flat. Lights half down until climax ; then flash. 
Use candle during this scene. 

Act IV. Scene i. — Street in I G. 

Scene 2. — Den boxed in, 3 G. A rough kitchen will do, as the scene 
represents a thieves' den. If possible, raise the drop about four feet 
above the stage, letting the bottom rest on a bridge or platform. Door 
C. in the drop, with dark backing, practical steps leading down from this 
C. dpor. These steps should be firm, and have posts on each side, to 
which are attached hand-rails running up to each side of the door. Doors 
R. 3 E. and L. 3 E. with interior backings. Doors L. 3 E. and c. have 
practicable bolts. Boxes, barrels, rubbish, etc., about stage. Some old 
quilts and rugs on floor of stage, on each side of the steps. Old chair, 
stove, etc. Rough table, with stool l. of it, l. at about 2 E. Candle, 
burning in candlestick, on table. Lights half down. 



ABBREVIATIONS. 

In observing, the player is supposed to face the audience. c. means 
centre; R. right; L. left; R. C, right of centre; L. C, left of centre; CD., 
centre door; R. D., right door; L. D., left door; D. R. C, door right 
of centre; D. L. C, door left of centre; D. F., door in the flat; c. D. F,, 
centre door in the flat; R. D. F., right door in the flat; L. D. F., left door 
in the flat; i G., 2 g., 3 G., etc., first, second, or third grooves, etc.; I E., 
2 E., 3 E., etc., first, second, or third entrances, etc.; R. u. E., right 
upper entrance; L. U. E., left upper entrance; UP, up stage or toward the 
rear; down, down stage or toward the audience; x., means to cross the 
stage; x. r., cross toward the "right; x. L., cross towards the left. 

R. R. C. C. L. C. L, 



MY LADY DARRELL; 



OR, 



A STRANGE MARRIAGE. 



ACT I. 

SCENE. — The Paisey J^arfn. For description of setting, see scene- 
plot. Mrs. Paisey is DISCOVERED at door of house. 
READY Paisey, with wheelbarrow, to enter L. 3 e. 

Mrs. Paisey {appears at door, shakes table-cloth, and calls'). 
Alice! Alice! Drat the girl, where can she be? Alice, I say! 
{EXIT, into house.) [Paisey is heard whistling, off l.. 

ENTER Paisey, l. u. e., pushing wheelbarrow ] he wheels it to 
C. of stage and sits in it, facing the audience; takes paper and 
pencil from his pocket, and begins to figure. He is very slow 
of speech and action, atid drawls habitually. 

Paisey. Six times nine — let me see, how much is that? {Cal- 
culates on fijigers.) Fifty-four. {Makes figures on paper.) Now, 
four's a four. Six and five's {figures on fingers) eleven — one to 
carry — one and one is two. It's just as I said — there's no money 
in raising ducks ; they eat more than what they bring, to say noth- 
ing of all the trouble of looking after 'em. {Puts paper and pencil 
into pocket.) 

Mrs. p. {calls, inside house). Alice! Alice! Oh, wait till 1 get 
her — ril break every bone in her lazy body! 

Paisey {looks slowly toward house). That's my wife. Guess 
rd better be moving afore she starts in on me. {About to rise 
when Mrs. Paisey appears at the door; he sits again.) 

Mrs. p. Oh, you're back at last, eh? 

Paisey {meekly). Yes, mother. 

Mrs. p. {mocking him). "Yes, mother." Where have ye been 
fer the last three hours? {Comes down steps to R. of Paisey.) 

Paisey. Feeding the ducks, mother. 



8 My Lady Darrell; 

Mrs. p. Feeding the ducks ! Does it take three hours to feed 
seven ducks? 

Paisey. Well, mother, some of the ducks had wandered Vay 
off down in the meadow, and 1 had to drive 'em back. 

Mrs. p. Did it take three hours to walk down to the meadow 
and back? 

Paisey. Well, mother, you see the ducks was in the pond, and 
I had to wait until they come out on the bank. {He has one foot 
crossed over the other, and is swingmg it.) 

Mrs. p. Oh, you lazy-bones, you'll make me lose my temper. 

Paisey {aside). I wish she would lose it, and find another. 

Mrs. p. Have you seen Alice? 

Paisey {slowly). No. 

Mrs. p. Do you know where she is? 

Paisey. No. 

Mrs. p. Oh, I'm all out of patience! 

Paisey {aside). She always is. 

Mrs. p. W^hat are ye waggin' yer foot fer? 

[Paisey scratches his head. 

Now he's scratchin' his head. Don't scratch yer head. 
^ [Paisey starts to get np._. 

Now he's gettin' up. 

[Paisey sits down. READY Job, to enter r. u. e. 

Now he's sittin' down ag'in — he does it on purpose to aggravate 
me. {Goes up stage and calls ^ r. u. e.) Job ! Job ! 

Paisey. That's right ; call Job. He's got lots of patience. 

Mrs. p. Job ! Job, I say ! 

Job {off-R. u. e.). Yes, Mrs. Paisey, I'm comin'. 

Mrs. p. Yes, you're comin', and so is the judgment day. 
{Co?nes down R. of Paisey.) 

ENTER Job, r. u. e. 

Job. Did ye call, Mrs. Paisey? {Comes down l. <?/" Paisey.) 

Mrs. Paisey, r. Paisey, in wheelbarrow, c. Job, l. 

Mrs. p. Pve been screeching this half hour. Did I call ! Where 
is Alice? 

Job. I dunno. 

Mrs. p. Here's another bright one. Well, go find her, and tell 
her to be here in less than a minute, if she knows what's good for 
her. {EXIT into house.) 

Job {looks after Mrs. Paisey, then at Paisey; to Paisey). 
Your good wife seems in bad humor. 

Paisey. Good wife! Pd like to know what's good about her; 
and as for the bad humor, did ye ever see her in any other kind? 

Job. Well, she do make you stand around. 

Paisey. That she do; but she ain't to be compared with my 
first wife. 



Of, A Strange Marriagfe. 9 

Job {surprised) . Why, be ye married afore? 

Paisey. Oh, yes ; she was a tartar. {Sighs.) When she died, 
that ought to have been a lesson to me ; but no, I must take 
another dose of the same medicine 

Job. What did she die from.? 

Paisey. Eh ? 

Job. What did she die from ? 

Paisey. She died from home. 

Job. No, no; what was the complaint? 

Paisey. Oh, no complaint — everybody was satisfied. 

Job. What was the disease. 

Paisey. Oh, the disease? Well, I can't say exactly. Nothing 
serious. 

Job. Nothing serious — and she died of it? 

Paisey. Well, I tell ye ; the doctors just couldnH seem to agree 
what ailed her, but 'tween you and me, she was a powerful talker — 
she took the lockjaw, and when she found she couldn't talk, it 
struck in and killed her. 

Job. Don't ye think your good woman is a little hard on Alice? 

Paisey. 'Tween you and me, I do ; but where's the help for it? 

Job {looks cautiously at Jiouse ; tJieii co7iJidentially to Paisey). 
Well, Mr. Paisey, I've thought of a way — now if ye'll help me. 

Paisey. 'Course I'll help ye {suddenly thinks, hesitates), that 
is, if mother don't object. 

Job. We won't let your good woman know nothin' about it. 

Paisey {astonished). What! Keep it from mother, with her 
eyes and ears. {Shakes his head.) Ye don't know her. 

Job. Well, I don't think your good woman — 

Paisey {inter rupti7ig quickly). Now, Job, just oblige me by not 
callin' her my ^^<?^ woman. 

Job {grins). Jest as ye say. Well, she won't object after it's 
all over. 

Paisey {puzzlea). After what's all over? 

Job. The marriage. 

Paisey {still puzzled),. What marriage? 

Job. Why, mine and Alice's. 

Paisey {laughs heartily). Sho' ! man ? She won't marry ye. 

Job {amioyed). Well, I dunno why. I'm not so bad looking. 
{Draws hiinself up.) 

Paisey {looki?ig at him critically) . No ; but ye'd never take a 
prize at a beauty show. 

Job {as if arguing) . I'm a good dancer. 

Paisey. Ye look it. I'll be bound ye can raise the dust with 
them boots. {Laughs.) 

Job. Besides, I'll tell ye a secret. {Confidentially .) I've been 
a-buying her books to read. 

Paisey. What, them yaller back novels? 

Job {proudly) . Yes ; did ye see them ? 



^0 My Laciy Darrell; 

Paisey. Mother saw 'em; she built fires with the "Beautiful 
Wretch "; she made porous plasters out of " Dead Men's Shoes"; 
and she stuffed a hole in the attic window with "Three Sewing 
Girls." 

Job {almost crying) . What ! I always gets one new one fer 
every two I take back. 

Paisey. Well, ye won't take 'em back. 

Job. I'll give her a piece of my mind. (^Turns toward house, 
as if about to enter it.) 

Paisey. I'd advise you not to ; she said if she found out who 
brought them books here, she'd scald him. 

Job {stops, hesitates, and looks at house). Guess I'll let it go. 
{Deprecatingly .) I don't like to have words with a woman — 'tain't 
good taste. 

Paisey (zVz a decided tone). No, not with ?nother. Well, Job, 
if ye can get Alice to say yes, I'll help ye. 

Job {eagerly). Ye will? Say, Mr. Paisey, it would take me an 
hour to thank you. 

Mrs. Paisey {appears at door). Hain't ye gone yet, Job 
Trotters ? 

• Job {qiiickly to Paisey). I'll just thank ye another time. 
{EXIT quickly, L. u. e. READY to re-enter.) 

Mrs. p. {comes down steps to r. ^Paisey). And as for you, get 
up and do something ; get in the wood — it will soon be growing 
dark. 

Paisey {with dignity) . Now, mother, I just want ye to under- 
stand that I'll move when I get ready. 

Mrs. p. What's that? {Staj^ts at Paisey; he jumps up, and 
takes handle of wheelbarrow.) I thought ye said ye wouldn't move 
till ye got ready? 

Paisey. Well, I got ready. 

Mrs. p. {shaking her finger at him^. Now look ye, Joseph 
Paisey; lately ye seem inclined to put on airs and talk back. I'll 
gin ye to understand, once for all, what I say is law in this house, 
and I'll take no impudence from you. J,ob gins me none, Alice 
gins me none, and ye sha'n't gin me none. 

\_Du7'i)ig this speech she has been trying to get at Paisey ; 
he has handles of wheelbarrow, and circles around 
stage, keeping barrow between himself and Mrs. Paisey. 

Paisey (l.). Ye can talk, mother, but ye can't reach me. 

Mrs. P. (r.). Can't I? Just wait till I get that horsewhip — 
see if I can't reach ye. 

\_She makes a break for the house, and EXIT in door. 
Paisey snakes a break for R. u. e., with barrow, fust 
as he disappears behind the house, she comes out and 
makes a crack at him with whip. Paisey bellows as 
if hit. 
{Laughs exultaidly.) Caught him ! {Throws %uhip down near 



Or^ A Stfangfe Marriagfe* it 

s^eps.) I'll show him who rules this house. {EXIT into house:, 
head held high.') 

Paisey {sfieaks from behind ho7ise j shakes his fist at door). Just 
wait. One of these days Til get my temper up, and then — (Jie is 
C. of stage). 

Job {7'itnning 071, l. u. e.). She's comin', she's comin' ! 

{^READY PoACY., to ejiter, l. u. e. 

Paisey. O Lord ! where? {Starts to go, R. ; Job catches him.) 

Job. There. {Poifits, l. u. e.) 

Paisey. Who do ye mean? 

Job. Why, Alice. 

Paisey {sighs with relief). I thought ye meant mother. 

Job. Now, you go keep your good woman away while I talk to 
Iffer. 

Paisey {almost screams). What, go in the house with mother? 
{Decidedly .) No, sir; not for a fortin. 

Job {imploringly). Ye promised to help me. 

Paisey {points to r. u. e.). TU just go around behind and peep 
through the windy. If she starts to come out, Til holler. • 

Job {looking l. ; lost in admiratio7i) . My, ain't she an angel ! 

Faisky {looking at hojise). Who, mother? 

^O^ {disgusted) . No, Alice. Here she comes. {Pushing Vaiswi, 
R.) Go, quick ; I feel my legs giving away. 

Paisey. What, for fear of meetiii' Alice? You ought to have 
mother to deal with. {Slaps Job oji the back.) Brace up, be a 
man; I'll holler. {EXIT behind house.) 

Job {shaking as if he had the ague). O Lord! She's here. 
It don't look as if she belonged on this earth — she just looks like 
one of them pictures of angels. I'm all of a tremble, as if I had 
the ague. {Stands up stage a little R. of c.) 

ENTER Alice, l. r. e., reading novel j she does not notice Job, 
but goes down l. and sits on watering-trough ; reads a moment, 
a7td lets book fall in lap ; sighs. 

Alice, What a beautiful story! It seems as if, in a dream, I 
can see a beautiful house — a kind, loving face bending over me. 
I can almost feel a loving mother's kiss pressed to my lips, and 
hear a tender voice whisper sweet words in my ear. It is but a 
dream, but, oh, such a dream ! I wish I could shut out the reality, 
and live on and never wake. {Sighs j looks abstractedly at book in 
lap.) 

Job (r., has been trying to attract Alice's attention; comes 
awkwardly down c). Hem ! Miss Alice. 

Alice {looks at Job). Oh, is it you, Job? {Smiles a welcome.) 
I thought you had gone. 

Job {laughs aiukwardly). No — I'm here. {Hat in hand; 
offers flowers.) I brought you a little bouquet. {Pronounces it 
bucket.) 



J 2 My Lady Dafrelli 

Alice. For me? {Takes flowers.') It is very kind of you to 
think of me. {Still sitting on trough.) 

Job {bursts out). Think of ye? Why, I'm always thinkin' of 
ye; I can't do anything else. {Spouts.) The rose is red, the 
violet's blue, them flowers is sweet, but not as sweet as you. 

Alice {laughs). Why, I declare, you are quite a poet. 

Job {deprecatingly) . Oh, I writ that in a minute. I've got a 
longer one — nineteen verses — that's better; I'll read it to ye. 
{Takes long paper out of pocket.) 

Alice {iji alarm). Not now, Job, some other time. 

Job {puts paper ifi pocket). Jest as ye say. Miss Alice ; but it's 
awful purty — all full of darts and bleeding hearts. {Fidgeting.) 
Say, Miss Alice (Alice looks at him)., will you go to the Wilkins's 
party? I'm going to ask Mrs. Paisey if I can't take ye. 

\_When Alice is not looking at hi?n he braces tip as if on 
the point of popping the question ; when she looks at 
him his courage oozes, and he ivilts. 

Alice. I am ever so thankful to you, Job, but I think I would 
rather not go. 

Job {disappointed) . Not go? Why, there'll be lots of fun — 
Jlie whole neighborhood will be going. 

Alice {hesitating). Yes, I dare say it will be nice; but they 
drink, and are so coarse. They always make fun of my white face, 
as they call it. {Appealingly.) It isn't my fault, is it. Job, that I 
am not big and strong like the rest of the girls hereabouts ? 

Job {indignant ', blurts out). Your fault? White face? Why, 
you're a lady, and they — well, they ain't. They're jealous — it's 
sour grapes, that's what it is. You're right, they are rough. Why 
them Wilkinses girls, when they gets some beer aboard, ain't got 
as much sense as blind mules. {Blusters.) I'd just like to hear 
any one of them making fun of ye, it wouldn't be good for 'em. 
{Doubles up fist threateningly ., t?yi)ig to be sentifnental.) O Miss 
Alice, if ye'd jest give me the right to purtect ye, I'd lay some on 
'em out. [Alice looks at him ; he wilts. 

Alice {quickly). Oh, no, Job; I wouldn't like to see any of 
them hurt. {Rises.) 

Job {admirijigly) . Now, that's jest like you. Miss Alice. Do 
ye know, everybody loves ye? 

Alice {laughs). That's a rather broad assertion. Whom do 
you mean by everybody ? 

Job {starts bravely). Well, your Uncle Joe and {hesitates, then 
blurts 02it) — and me. 

Alice {surprised) . You, Job? 

Job. Yes ; I wanted to tell ye ever so long, but I couldn't get 
up the spunk. {Quickly.) I love ye, Miss Alice, and if ye'll only 
say yes, I'll have the banns called next Sunday, {With a deep 
sigh, turning partly away from Alice,), There, it's out at 
last. 



Otf A Strange Marriage* J3 

Alice {comes a step or two toward Job) . I am very sorry you 
have said this. {Slowly.) I can't marry you, Job. 

Job {turns to her, entreatingly). Don't say that, Miss AHce. 

Alice. I am sorry to hurt your feelings. Job, indeed I am ; you 
have been very kind to me, — one of my few friends, — and now I 
shall lose your friendship. {Almost crying.) 

Job {blusters). No, ye won't; jest because ye won't marry me, 
do ye think I'm goin' to get mad and turn my back on ye? No 
sir-ee. I've been your friend, and always will be, an' if I kin ever 
do anything to prove it, ye just call on Job Trotters. 

[Alice, abnost cryifig, has been abstractedly pulling the 
flowers to pieces. 
Don't pull them flowers to pieces. Miss Alice. 

\_READYM.^?>. Paisey, to enter from house. 

Alice {realizes what she has been doing). Forgive me, Job. 1 
didn't know what I was doing. You will forgive me? {Lays hand 
on his arm.) 

Job (c). 'Course I will, when ye ask me in that purty way. 
Why, I'll bring ye a bucket every day, jest to see ye pull them to 
pieces, and have ye ask me to forgive ye. 

Alice (l. c, smiles). Thank you. Job. I must go in, now. I 
am ever so much obliged for the flowers. {Crosses toward house.) 

Job (l.). Oh, don't mention it. They didn't cost me nothin'. 
{Hat in hand', laughs awkwardly^ 

ENTER Mrs. Paisey, from house. 

Mrs. Paisey {speaks from steps). So, there you are at last 
{Comes down R. ^ Alice.) Where have you been gaddin'? 
Alice (c, meekly). I have been in the grove, reading. 
Mrs. p. Reading ! And leaving me to do all the work {snatches 
book from Alice's ha7id., and shakes it in her face), filling yer head 
with this trash, dreaming yer a lady when yer an idle good-fer- 
nothing minx that eats us out of house and home ! If I find out 
who gives ye these books {throws book off r. i e.), I'll make it 
warm for 'em. 

[jREABV Paisey, to enter r. u. e. Job, who has been 
working himself up during Mrs. Paisey's speech, and 
looks as if he were going to interfere, suddenly stops 
and goes L., when Mrs. Paisey threatens to make it 
warm . 
{Exasperated, to Alice.) Why don't ye speak? 
Alice {quietly) . I have nothing to say. 

Mrs. p. {working herself into a rage). Nothin' to say! Yer 
fast enough with yer tongue when I find any fault with yer uncle — 
as if ye had any right to interfere between man and wife. 

[Paisey has ENTERED during this speech j he stands 
up stage, listening. 
I want ye to go on an errand to the castle. ^ 



J 4 My Lady Darrell; 

Alice {quickly) . To the castle ? O Aunt Martha, I am afraid ; 
it will soon be dark. 

Mrs. P. Afraid! Afraid of what ? Honest people have nothing 
to fear. 

Paisey {coming down R. of Mrs. Paisey). There, mother, let 
the errand go till morning. 

Paisey, r. Mrs. Paisey, r. c. Alice, c. Job, l. 

Mrs. p. You, Joe Paisey, shut up. Who's attendin' to this, 
you or me? 

Paisey {meekly). You, mother. 

Mrs. p. {to Alice), I say, to the castle you go, and to-night. 

Job. Let me do the errand, Mrs. Paisey. 

Mrs. p. Hoity, toity, so you want to interfere ! Job Trotters, 
attend to your own business ; Pll 'tend to her. 

Job {can control himself 7io longer; blu7^ts 021 1) . Yes, yer always 
'tending to her, beating and abusin' her, and she a-takin' it like an 
angel, never sayin' a word. You're an old — cat-a-ma-ran ! 

Mrs. p. {speechless). Why, you big, lazy lout, you're sacked 
from this farm. You can't work for me from this night. 
^ Job {working himself up). I'm glad to leave yer old farm. Ye 
ain't satisfied to abuse her and yer husband, who dassen't say his 
soul's his own ; but because ye can't do the same to me, ye starve 
me. I ain't had a good meal since I've been here. {Comes toward 
c, close to Alice.) 

Alice. Hush, Job, you will only make matters worse. 

Job {desperately). I won't hush. I've had this in for a long 
time, and if I don't let it go now, I'll bust. 

Mrs. p. {turns to Paisey, who is laughing slyly at Job). Joe 
Paisey, are yer going to stand there and see yer wife abused? 
Thrash that man. 

Paisey {almost paralyzed with astonish^nent) . Eh ? 

Mrs. p. You thrash him, or I'll thrash you. 

Paisey {braces up and blusters). Look ye, Job Trotters, I'm 
not going to allow ye to talk to my wife like that. Get off this 
farm. {Looks at Job threateningly .) 

Job {stands his ground) . I'll go when I get good and ready. 

[Paisey hesitates, and looks at Mrs. Paisey. 

Mrs. p. (r. c, threateningly to Paisey). Remember what I 
said. 

Paisey (r., threateningly to Job). Get off the farm. 

Alice (c, in alar7n, to Paisey). O uncle ! 

Alice, up c. 
Mrs. Paisey, r. c. Job, l. c. 

Paisey, down r. 

Mrs. p. {to Alice). You mind yer business. {U7'gi7ig Paisey 
on.) Go for him, Joe. 



Of, A Strangfe Marriagfe, 15 

] OB {spz'is on his hands). Yes, you jest go fer me. I can't 
thrash yer wife, but I can take it out of your old hide. {Starts at 
Paisey, who ret?'eats toward house.') 

Paisey, near house. Job, r. c. Mrs. Paisey, c. Alice, l. c. 

Paisey {seizes pitchfork, standing against wingj to Job) . Now, 
you git. {Starts for Job ; he retreats, L., crossing in front ^Mrs. 
Paisey and Kiaq,^. Vais'e.y follo2vs htjn up with pitchfork.) 

Job (l.). Lay down yer weepon ; lay down yer weepon ! 

Mrs. p. {coming down, behind Paisey, to r. c). Go fer him, 
Joe. [Alice stands in alarm, c. 

Paisey. Fll do it. {To Job.) Ye git. {Chases ]ob, ad lib., 
around stage, and follows him off i.. U.K.) 

Mrs. p. {to Alice). Now, see what ye have done, — drove 
away a good farm-hand just when we need him most. 

Alice {quietly, c). It was your temper that drove him away. 

Mrs. p. (r. c). Don't answer back. What do I keep ye fer? 
Yer'e no good about the place. 

Alice. I suppose you keep me for my dear mother's sake, your 
sister. 

Mrs. p. {who is almost beside herself with rage). My sister I 
She was no sister of mine. Yer'e no kith or kin to me — you're a 
waif — a stray that vye took in for charity. 

Alice {shows some spirit). My coming was the means of your 
getting this farm. 

Mrs. p. It's a lie ! Who told ye that? {Looks at her keejily.) 

Alice. I heard Uncle Joe say so when you quarrelled with him 
yesterday. He said the money I brought with me gave him his 
start in life. My mother helped you, and the least you could do in 
return, would be to treat her daughter kindly. 

Mrs. p. {in a rage). Yer mother! It was my hard work that 
got this farm. No thanks to anybody. Yer mother, indeed! A 
good-for-nothing — 

Alice {breaks in upon Mrs. Paisey). Stop ! You can abuse 
me, — you can beat, or even kill me, — but {bravely) I will not 
allow you to speak ill of my mother. 

Mrs. p. {almost speechless). You won't allow! Well, it's the 
truth — yer mother was like you, stuck up, nobody was good 
enough for her. She had to marry a gentleman, so she run away 
with one, a no])leman ! {Snee7'ingly .) Nobleman, indeed ! {Al- 
tnost hisses.) When she crept back here to die, she had a child, 
but she had no husband — no father for you. 

Alice {angrily). It is false. Your husband has told me many 
times that my mother was a good woman. I believe him ; my 
heart tells me that he spoke the truth. When you say such things, 
when you cast a blot upon her memory, it is cowardly. She is 
dead and cannot defend her good name ; but I am her child, and I 
say it is a lie. 



i6 My Lady Darrell; 

Mrs. p. You hussy! to defy me to my face! Fll show you! 
(Ge^s whip where she threw it on steps ; about to strike^ 

Alice {quietly, but firmly'). If you strike me with that whip, I 
will go to the castle and appeal to Lord Darrell. I will repeat what 
you have said, that I am the daughter of a nobleman — probably 
one of his friends. He will not refuse to aid me. Now, then, strike 
me if you dare. 

{^Picture : A dark change. Or drop the curtain long 
enough to clear the set house, watering-trough, etc., and 
change landscape to a wood in 4 G., with wood wings. 
Clear stage. 

ENTER Sir Geoffrey Rawdon, r. 2 e., laughing, followed by 

Armstrong Dale. 

Sir Geoffrey. Dale, you are positively the worst shot I ever 
saw. I verily believe you couldn't hit the proverbial barn door. 
{Laughs heartily.) 

Dale (l.). Laugh on, laugh on ; you may get into trouble some 
day. I may be engaged as the other fellow's counsel, and you will 
find that I won't miss when I fire an avalanche of invectives at 
your head. 

Sir G. (r., banteringly) . If you don't make a better lawyer 
than you do a hunter, I'm sorry for your clients. {Suddenly 
thinks.) By the way, how have you been progressing during my 
absence ? Have you any hope of a brief in the near future ? 

Dale {pompously). Oh, bless you, I have tried my first case! 

Sir G. {with interest). Indeed! What kind of case? 

Dale {off hand). Murder; /appeared for t'he accused. 

Sir G. Well, I suppose you cleared him ? 

Dale {looks at Sir Geoffrey; sighs). No; they hung him. 

Sir G. {laughs). I am afraid I can't recommend you to my 
friends. 

Dale {seriously). If the bad feeling between two friends of 
ours gets much worse, I think one of them will need legal advice. 
{Comes down c.) 

Sir G. {goes toward Dale; seriously). Dale, do you really 
think there is danger of anything serious happening? 

Dale. I do, indeed. 

Sir G. {as if nieditating) . It is sad to contemplate. Two life- 
long friends at swords' points, because of their rivalry for a woman's 
love. 

Dale {spouting). Love, love, what is love? It is the axis on 
which the world revolves ; and'as it goes around and around, over 
and over {makes motions with hands), is it any wonder that friends 
and friendships are turned topsy-turvy? O woman, if St. Peter 
is obliged to keep account of all the sins that can be laid at your 
door, what an army of clerks he must employ. 

Sir G. {iinpatiently). Dale? do be serious for just a moment. I 



Of, A Strange Mamagfe. J 7 

am really concerned for our friends. They go about looking dag- 
gers at each other. 

Dale {laughs). Yes; and imagine no one sees them. Because 
love is blind, they fancy we are all afflicted with the same weakness. 

Sir G. There you go again. I tell you, Dale, Miss Vaughn is 
likely to cause serious trouble between Roy and Captain Wyndham. 

Dale {seriously) . I quite agree with you ; and the worst feature 
of the whole deplorable affair is that I don't think she is worth the 
trouble she is making. 

Sir G. {surprised). Why, Dale ! What do you mean .'' 

Dale {looks at Sir Geoffrey a moment, before speaking). Sir 
Geoffrey, I can speak plainly to you? 

Sir G. Certainly, this is not gossip. It is our duty to discuss 
the-matter, and, if possible, find a remedy. Go on. Dale. 

Dale {slowly). Miss Vaughn really loves Captain Wyndham. 

Sir G. Then how do you account for the many little favors she 
bestows upon Roy? 

Dale {slowly and ifnpressively). I said she really loved Cap- 
tain Wyndham. But Captain Wyndham is poor. Miss Vauglm 
has expensive tastes which Wyndham could not indulge. {Looks 
at Sir Geoffrey jneaningly .) Now, Roy Darrell is rich. 

Sir G. And you think — ? 

{^READV]\5KA, to enter w. 3 e. 

Dale {in a brisk, business tone). That Miss Vaughn will put 
her love away on a shelf until after her marriage with Roy ; then 
she will take it down, carefully dust and brighten it up, and restore 
it to its former place. 

Sir G. {shocked). Good Heavens, Dale, what are you saying? 

Dale {firmly). What I believe to be the truth. 

Sir G. Armstrong Dale, this is slander; I will not listen to it. 
{Shoulders his gun.) 

Dale. Now, just a moment. 

Sir G. {sternly). Not another word on this subject, as you 
value my friendship. {EXIT, l. i e.) 

\^READY Roy and Wyndham, to enter r. i e. 

Dale {looking after him). That is always the way. A man 
asks you for the truth, but when you knock him down with it he 
carefully nurses the sore spot, and declares you struck him a foul 
blow. Moral : tell the truth, and you are voted a boor ; lie, and 
you are hailed as a good fellow. {Shoulders gun.) I am done 
with the truth. {Crosses over to L.) Henceforth, I am a liar. 
{EXIT, L. I e.) 

ENTER Jura, r. 3 e., dressed roughly ; he comes down c, looking 
after Dale and Sir Geoffrey. 

Jura. So ! it has become so plain that every fool staying at the 
castle gossips of it? Bah! Love! To let a silly, romantic love 
stand in the way of riches, a life of luxury ! I have reasoned with 



J 8 My Lady Dafrell; 

her. Reason ? How like an idiot I talk — as if you could reason 
with a woman. No, she will go on until she loses the prize. Loses 
it to gain — what? Captain Lionel Wyndham, gentleman. Bah — 
an aristocratic pauper ! How I wish he were dead and out of her 
way — then she would come to her senses and marry Roy Darrell. 
With a bank account like that to draw upon {snaps his fingers), I 
could look Dame Fortune in the face, and laugh to think how some 
fools woo her. 

[Roy and Wyndham are heard off k., talking, gradually 
drawing nearer. 
{Looks R.) Someone coming! {Looks B.. again.) Roy Darrell 
and — Captain Wyndham! {Do7ibles up his fist, looks R. as if he 
would like to stay and ?;ieet Wyndham in a fight, then qtiickly 
retires r. 2 e.) 

ENTER Wyndham, r. i y.., followed by Roy. Both angry. 

Wyndham. I will not answer you. {Walking across to l.) 

Roy (c, sternly). You must. 

Wynd. {stops L. c. ; in surprise). Must? 

Roy. You have hinted certain things ; now you must make your 
meaning clear. 

Wynd. What do you want to know? 

Roy. When and where did you meet Miss Vaughn? 

Wynd. {iinwillingly). In London, two years ago. 

Roy. Did you ever propose marriage to her? 

Wynd. {same tone). No. 

Roy. Did any attachment exist between you? 

Wynd. {sa?ne tone) . I decline to answer. 

Roy {angrily). By Heaven, you shall! 

Wynd. {same tone). I shall not. 

Roy {in a great passion). Then you shall ask my pardon for the 
insinuations you have cast upon her name, and you shall also ask 
the pardon of the lady who is to become my wife. 

Wynd. Your wife? 

Roy. You heard me rightly. If Miss Vaughn will honor me by 
accepting my hand, I shall marry her before the month is out. 

Wynd. {hotly). You will do nothing of the kind. 

Roy. And who will prevent it? 

Wynd. I will. {Speaks quickly?) We have been life-long 
friends. It is true some bad feeling has existed between us since 
you attempted to gain what I possessed, Viola^s affections. But I 
did not dream that you thought of making her your wife. Now 
that I know your intentions, I shall interpose my friendship to pre- 
vent you from linking the proud name of Darrell to one that can 
only bring dishonor. {READY Alice, to enter l. i e. 

Roy {witJi suppressed rage). Make your meaning clear! 

Wynd. {quietly). Viola Vaughn is not a good woman. 

Roy. Prove the truth pf your wprds, or I will kill you, 



Or, A Strange Marriage* i9 

Wynd. I shall ride to the barracks this evening ; to-morrow, at ten, 
I will meet you with the proofs that Viola Vaughn is my mistress. 
Roy {/lot/y). You lie ! 

l^READV DAI.K and Sir Geoffrey, to enter l. i e. 
Wynd. What! 

\Strikes Roy, who staggers back toward r. ; he has a gun 
in his ha7ids^ right hand on stock, left hand on barrel j 
it is pointed at Wyndham. Jura cojnes out from r. 2 
e., behind ROY ; he reaches around hmz and pulls trig- 
ger of gun; Wyndham screa^ns and falls l. c. Roy 
falls R., «i if stunned by Wyndham 's blow. Note: 
A loop of wire should be attached to trigger of gun , so 
, that Jura can easily get hold of it. 

ENTER Alice, with small basket, l. i e. She stands l. as shot 
is fired J she appears dazed. 

Jura (crosses to c, atid stands bending over Wyndham). Curse 
you, I'm glad you are out of the way. 

[Alice screams, and drops basket. Jura looks up sur- 
prised. Alice faiiits and falls l, TJns business is 
important, as it ts repeated in Act III. 
{Crosses quickly to A'LiC'E.') Fainted? Good! She was so frightened 
she won^t remember me. {Crosses to Wyndham, kneels and feels his 
heart.) Dead. Now, Roy Darrell is free for Viola, and his bank 
account is open to me. {Looking at Wyndham.) What a fool 
Viola was ever to mix with you. {Laughs.) Well, you won't 
show your proofs to Lord Darrell — I blocked that little game. 
{Noise L., as if people were approaching.) Hark, some one is com- 
ing. Fm off. {EXIT, R. I E.) 

Dale {outside l. i e.). This way. Sir Geoffrey. 

ENTER Dale, l. i e. He perceives Wyndham, goes to him, 
feels heart, etc. ENTER Sir Geoffrey, l. i e. Sees Dale 
bending over Wyndham. 

Sir Geoffrey (l.). What is it? 

Dale. Murder ! {Sees Roy reviving, R.) And Roy Darrell ! 
{Goes to Roy, gives him a drink from pocket-flask ; examines Roy.) 
He isn't hurt, only stunned. 

Sir G. {coming c, toward Dale). How do you account for the 
woman's scream? 

Dale {who has been looking about, sees Alice). Here ! {Goes 
to Alice.) She has fainted. {Gives her drink from flask.) 

[Roy attempts to rise ; Sir Geoffrey goes to Roy and 
assists him. 

Sir G. Darrell ! Roy ! Come, rouse yourself. {Shakes him.) 
What has happened ? 

Roy (struggles to one knee ; confused). I can't say exactly — we 
quarrelled — Wyndham struck me — and — 



20 My Lady Darrell; 

Sir G. (c). You shot him ! 

Roy (r. c. ; struggles to his feet). Shot him ? No, no ! 

Sir G. He is lying here, dead. 

Roy. Dead? There is some mistake ; I have no recollection of 
firing. 

Dale (l. c). Perhaps the girl can throw some light upon the 
mystery. {Assists Alice to her feet.) Are you better.? 

Alice (l. ; faintly). Yes, thank you. 

Dale. Can you tell us what you saw just before you fainted ? 

[Alice suddetily looks around; sees Wyndham lying 
there ; recollects j covers her face with her hands, and 
shudders. 

Sir G. Come, my good girl, be brave ; tell us what you saw. 

Alice {faintly) . I saw two men struggling ; I saw a flash ; 
both men fell ; then — then I must have fainted. 

Roy. But who fired the shot? 

Alice {looks at hi7n). The gun was in your hands. 

Roy. Was there no one else here? 

Alice. No — no one — yes, yes there was. 

\_Excla?nation from all. 

Dale. Think, try to remember. 

Alice {slowly). I can just remember a dark man with an evil 
face — he seemed to be standing behind this gentleman when he 
fell. I can't remember anything more. 

Dale. Would you know this man if you were to see him again? 

Alice. I think I should. 

Dale {with decision). We must find that man. 

Sir G. Yes, but in the meantime Darrell may be convicted and 
hanged. 

Roy. Hanged ! Merciful heaven ! You are not in earnest — a 
Darrell hanged ! O mother, rrtother, it would kill her. {Fiercely.) 
They shall not hang me. 

Sir G. The case is very black. I can think of no way to save 
you. 

Dale {suddenly)^. But I can. This girl is the only witness to 
the crime, except the man who ran away. In England, a wife can- 
not be compelled to give evidence against her husband. Darrell, if 
this girl will become your wife, they cannot convict you. 

\_General movement of astonishment. 

Sir G. Think what you are proposing ! 

Dale. I am proposing a means to gain time to find this man. It 
is your only hope, Darrell — decide quickly. 

Roy {crosses iti front of Sir Geoffrey, to c. Sir Geoffrey 
drops down R. ; to Alice). Will you consent? Think before you 
speak. It is not to save my life that I ask you to do this. It is for 
my dear mother's sake. I am all she has in the world to love and 
lean upon. {Holds out his hand to Alice, who comes slowly c. 
Dale drops down l.) She is getting old, and needs my care. If 



Or, A Strangfc Mafi*iag:e» 2i 

I were taken away to imprisonment or death, it would kill her. 
Think of my mother, and give me your answer. 

Alice {slowly'). I consent. {Gives her hand to Roy, who shakes 
it as if thanki7ig her .) 

Dale. We must be quick. {Looks off, l. i e.) Officers are 
searching the wood. {To Sir Geoffrey.) Sir Geoffrey, you are 
a magistrate, perform the shortest marriage ceremony that is legal. 

Sir G. {expostulating) . But a marriage without a license is not 
legal in England. Besides, I am a Scotch magistrate. The mar- 
riage is impossible. 

{READY TiMJYOi^, to enter l. i. e. 

Dale {thinks a moment). Hold on. Roy, look about you. 
(Roy does so.) Tell me, isn't this part of your estate on Scottish 
soilj* 

Roy {looks). Yes; just over the English border. 

Dale {briskly). All right, Sir Magistrate ; go ahead. {Takes 
.out watcJi ; holds it tn hand.) 

Sir. G. {goes np stage behind Roy and Alice ; to Roy ajid 
Alice). Join hands. {They do so.) Roy Darrell, do you take 
this woman {to Alice) — what is your name ? 

Alice. Ahce Paisey. 

Sir G. Alice Paisey, for your wife ? 

Roy. I do. 

Sir G. Alice Paisey, do you take this man, Roy Darrell, for 
your husband ? 

Alice. I do. 

Sir G. With the authority vested me as a magistrate, I pro- 
nounce you man and wife. [Alice afid Roy drop down to R. c. 

Dale. Hurrah, one minute and thirty-two seconds- — the quick- 
est on record. V\\ bet it would take a good deal longer to undo it. 

enter d alton, l. i e. 
Wyndham c. 
Sir Geoffrey. Dale. 

Alice. 
Roy. Dalton l. 

R. Koy's g7in. 

Dalton. Ah, good-evening to you, gentlemen. One of my 
men heard a shot and a woman's scream. We've been searching, 
but haven't found anything yet. {Notices that they look strange.) 
Nothing wrong, I hope ? 

Sir G. Yes ; there is something wrong. {Steps toward Dale ; 
they both step aside to i.., disclosing body c?/" Wyndham.) 

Dalton {goes quickly to Wyndham ; feels his heart) . Dead ! 
Shot ! {Crosses to Roy's gun, picks it np and looks at it.) Your 
gun. Lord Darrell ? 

Roy (r. c). Yes. 

Dalton (r.). I must place you under arrest. {To ViKl.'E. and 



22 My Lady Darrell; 

Sir Geoffrey.) Were either of you gentlemen here when this 
happened ? 

Sir G. (l. C). No. \Y)PlI.'e., l.., shakes his head negatively. 

Dalton {to Alice). Were you here ? 

Alice (c, slowly). Yes. 

Dalton. Ah, a witness ! Who fired the shot ? 

Alice {fij-mly). I dechne to answer. 

Dalton {in surprise) . Decline to answer ! You must. A 
crime has been committed ; you are shielding the criminal ; I shall 
arrest you as an accomplice ; and the law will compel you to speak. 
Now, answer. 

Alice. I refuse. You may arrest me, you may throw me into 
prison, but I shall not answer. The law is powerless to compel me, 
for I am Lord DarrelPs wife ! 

[Dalton astonished y Dale triumphant. 

Picture. 
Wyndham, c. 
Alice. 
Roy. Dale. 

R. Dalton. Sir Geoffrey, l. 



CURTAIN. 



Ot^ A Strange Marriage* 23 



ACT II. 

SCENE. — The home of Lord Darrell ; a handsojne interior. 
For descriptiofi of settings see scene-plot. ENTER Viola, 
C.just after rise., as the clock is striking. She stops ajid 
listens. The clock strikes seven. 

J/iOLA {up c). Seven o'clock ! he may be here at any moment. 
{Comes down L.) But for her, how changed it would be ! How 
blind I was! how Lionel wove the veil around my eyes — fool 
that I was to believe him, and lose my chance with Roy. {Medi- 
tating.) Roy did love me once; but does he still.? {Leans on 
piano.) He has been away four months. Four months are not 
a lifetime, but many changes can take place in that time. {Looks 
in glass J arranges hair ; laughs softly to herself.) We shall 
see. As for my Lady Alice {looks at herself again in vtirror)., I 
flatter myself she will be no great rival. 

ENTER Lady Darrell, c. 

Lady Darrell {sees Viola, goes toward her). Ah, Viola, 
you look charming this evening. {Kisses her on forehead.) I 
have not heard wheels on the gravel ; it is growing late, and he 
has not come. 

Viola. You are over-anxious, dear. {Leads Lady Darrell 
to seat at table ; she stands L., and behind chair.) By the way, 
does Roy bring any one with him ? I think I heard you say some- 
thing about guests. 

Lady D. Yes ; he will be accompanied by a gentleman that 
he met in Italy — a Count Jura; and, from Roy's letters, a most 
delightful companion. I am glad that Roy is bringing him ; other- 
wise life here might prove too trying for you. 

Viola. Not at all, dear ; I haven't found it dull. I have you 
to converse with ; and when I have nothing else to do, I amuse 
myself with the Countess. By-the-by, did I understand you to 
say she was to come to the drawing-room to-night? 

Lady D. {frowns). Yes ; I insisted that she should not shut 
herself up in her rooms, but meet her husband on his home-coming 
in her proper place and position. We shall have guests to-night, 
and cannot risk scandal by her absence. But I tremble for her 
conduct and behavior. 



24 My Lady Darrell; 

Viola. Let us hope she will not commit any flagrant breach 
of good manners. {Sneeringly .) I dare say, with her country 
bows and manners, she will be quite amusing. 

ENTER Alice c, in tijne to hear the last of Viola's speech. 
She is dressed elegantly, and is dignified in 7nanner. Comes 
slowly down r, 

Alice. I shall be glad to afford Miss Vaughn amusement. 
{To Lady Darrell.) Good-evening, Lady Darrell. 

[Lady Darrell a?id Viola look at Alice i?t surprise, 
on account of her snperb and easy man7ier. 
. Lady D. {bows haughtily). Welcome, Countess ; will you not 
sit down? [Alice crosses and sits on sofa, c.) 

{Aside.) Where does she get her patrician air? {Crosses to 
Alice ; i?npulsively.) Have you any recollection of your child- 
hood ? Did you always live with your aunt ? Which side are 
your relations ? 

[Viola crosses down l., looking at Lady Darrell, in- 
terested. 

Alice, c. 

Lady Darrell, l. c. Viola, l. 

Alice {su7prised). I can remember nothing clearly. I have 
a dim recollection of a large house, and of a beautiful face bend- 
ing over me. Then came long years with Aunt Martha, and all 
her angry words, 

Viola {sneej-ingly). What a pity you cannot remember clearly 
— we might have discovered a secret, or a long-lost father. You 
might have developed into a queen. As it is — 

Alice {interrupting quietly). As it is, I am only Alice — Alice, 
the farm-girl. 

Lady D. {frowns). Roy is late; I will go to my room until he 
arrives. {Bows haughtily to Alice, smiles at Viola, crosses be- 
hind sofa, and EXIT r. 3 e.) 

Alice {aside). I must not tell them anything of what Aunt 
Martha said about my mother; it might bring shame upon her 
memory, 

Viola (/^ .Alice, banteringly). My lady Alice, it is an unex- 
pected pleasure to see you in the drawing-room. I wonder you 
were persuaded to leave your dearly loved books. What a store 
of learning my lord will find in his wife's head when he returns. 
By the way, have you heard from those worthy people, your aunt 
and uncle, since they left the village ? 

Alice. No. {^READY^vr. Geoffrey to enter c. 

Viola. They are not very considerate of their niece's welfare. 



Of, A Strangfe Marriage* 25 

Alice. Aunt Martha is only too glad to be rid of me; she 
always looked upon me as a burden, and — 

Viola. And glad to see you happily and well married ? 
{Sfniles.) I suppose it was natural. Did Lord Darrell mention 
the name of the gentleman he is bringing home with him? 

Alice. I did not know he was to bring a gentleman with him ; 
he has not written to me. 

Viola {sneeringly'). Not written to you? Ah, that was re- 
miss ! I suppose he was busy, and forgot to write ; probably he 
intends it as a surprise, for he didn't mention his name in the 
letter I received this morning. {Goes up stage j looks off c. to l.) 

Alice {rises and goes down r, ; chokingly). He wrote to her — 
not a line to me ! Oh, I will go away ! {Regains com?7zand of 
herself.) No ; I shall not let her triumph over me. 

\^READ Y Dale, to enter c. 

Viola. Ah, here is Sir Geoffrey! 

ENTER Sir Geoffrey, c. 

Sir Geoffrey. Good-evening, Miss Vaughn. (Viola bows ; 
he sees Alice.) And Countess ! {Comes down stage to Alice ; 
shakes hands %vith her. Viola conies down l.) This is an un- 
expected pleasure. Are you feehng quite well ? {Is looking at 
her intently.) 

Alice (r.). Quite well, Sir Geoffrey, thank you. 

Sir G. (c). Do you know, Countess, you remind me greatly of 
some one I knew years ago ? 

Alice {with interest). Indeed ! May I ask whom? 

Sir G. {thoughtfully). That is what puzzles me ; I don't 
know. 

Viola {down l.). Again? Try to remember. Sir Geoffrey; 
we may yet find that our countess has the blue blood of nobility. 

Sir G. {rather sharply). My dear Miss Vaughn, I have known 
men and women in whose veins coursed the bluest blood, who 
were the most degenerate. No ; purity of mind, goodness of heart, 
are the attributes which make true nobility. 

ENTER Dale, c, in time to hear the last of Sir Geoffrey's 

speech. 

Dale. Quite right. Sir Geoffrey. {Comes down r. of sofa, 
between Viola and Sir Geoffrey.) That's what makes me a 
nobleman in all but name. Good-evening, Miss Vaughn. {Bus. 
to Viola.) Countess, I'm charmed to see you again. {Crosses r. 
and shakes hands with Alice.) 

[Sir Geoffrey crosses and talks with Viola. 

Alice, r. Dale, c. Sir G., l. c. Viola, l. 



26 My Lady Darrell; 

Alice {smiling). Mr. Dale, you always bring sunshine and 
laughter with you. I am glad you've come. 

Dale {airily). My dear Countess, that is my greeting every- 
where. I have the reputation of being an amusing fellow, a funny 
man. [Sir Geoffrey and Viola retif'e 7ip, in conversation. 

Alice. I am sure you should feel pleased. 

Dale. I would if I had time. 

Alice. Had time ! Why, I fail to catch your meaning. 

Dale. Being a funny man, I am m demand. Should a friend 
be giving a dinner at which all the old maids and old fogies for 
miles around are to be present, the host, with a happy thought, 
says, " I will invite Dale ; he will keep us all in good humor." If 
there is a wedding, a christening, a lawn-party, a boating or riding- 
party, I am invited ; not because they want me — oh, dear, no ; 
but just to be funny. In fact, I am wanted everywhere but at 
funerals, all because of my reputation of being funny. I have to 
sit up half the night, and frequently lock myself in all day, think- 
ing up amusing things to say. 

{^READY ^OY «;;<^ Jura, to etiter c. 

Alice. That's very good of you ; and I am sure your friends 
appreciate it. 

Dale. No, they don't ; they seem to think it is natural for me 
to be funny. They won't take me seriously. I find it a great 
drawback to advancement in my profession. Why, a few days 
since, I argued a case for a poor woman whose husband had been 
hurt by an omnibus ; several of my acquaintances were on the 
jury ; I prepared a most touching appeal. Did they take it seri- 
ously? Did they weep, as I expected? No, they laughed — 
laughed until tears ran down their cheeks ; they insisted that I was 
funny. I lost the case, and was reprimanded by the judge for 
provoking levity in the court. 

Alice. I sympathize with you, and promise not to laugh at 
anything you say this evening; so for once you can be serious. 
{Gives him her hand.) 

Dale {with mock effusion). Thank you, Countess. You have 
applied the salve of sympathy to my wounded feelings. {Has 
his hafid on his heart.) 

Viola {tip r. c). Hark ! Isn't that the carriage? 

Sir G. {up r. c, looking toward c. door). Yes, you are right ; 
they have arrived. 

Roy {outside). James, look after the luggage; we will go at 
once to the drawing-room. 

[Alice trembles at the sound of Roy's voice. 

Dale. Countess, are you ill ? 

Alice. It is nothing; I am a little dizzy, that is all. I shall 



Off A Stfang;e Mamagfe* . 27 

be myself in a moment. {Takes a step or two towards. Dale 
goes up c, above sofa.) 

ENTER Roy, c, followed by Jura. 

Roy. Ah, Sir Geoffrey — and Dale {shaking hands with 
thevi) ; so good of you to be here to welcome me. Allow me to 
introduce Count Jura ; Sir Geoffrey Rawdon, Mr. Armstrong 
Dale. ( The gentlemen shake hands. Roy crosses L. to Viola ; 
eagerly.) Viola — ■ Miss Vaughn, I can't tell you how happy I am 
to renew our friendship. {Takes her hand; Viola indicates 
Alice ; Roy turns and sees her; bows coldly.) I hope I see you 
well, Countess .? 

^ Dale. 

Jura". Sir G. 

[Sofa.] 

r., Alice. Roy. Viola, l. 

Alice {quietly). Quite well, my lord. 

Jura {to Roy ; looking at Alice with admiration). My lord, 
I beg the honor of meeting the countess. 

\^READY\.MiY Darrell, to enter r. 3 e. 
Roy. I beg your pardon, Count Jura ; allow me to present you 
to my — {hesitates) — wife. 

Jura {crosses to Alice, and takes her hand). Countess, I am 
charmed to meet you. {Kisses her hand. Alice draws away 
her hand.) 

Alice. Thank you. [Jura looks at her j she shrinks away. 
Roy, My dear Jura (Jura turns toward i..), let me introduce 
you to my guest. Miss Vaughn. 

[Viola looks at Jura for the first time., and starts in 

terror. Jura crosses l. to Viola. Roy drops 

down c. 

Jura. Miss Vaughn, delighted. {Bows toNio^x, and sniiles 

at her mockingly.) [Viola bows silently. 

ENTER Lady Darrell, r; 3 e. She crosses quickly to Roy. 

Lady D. Roy, my son ! 

Roy {embracing her). Mother! Count Jura, let me present 
you to my mother, Lady Darrell. 

Dale. Sir G. 

[Sofa.] Lady D. 

Roy. 

Jura. 
R., Alice. Viola, l. 



28 My Lady Daffell; 

Jura {bows). I feel as if I already knew Lady Darrell, from 
my many conversations with her noble son. 

[Lady Darrell bows j speaks aside to Roy. 

Viola {aside to Jura). I must see you alone. Meet me here 

in a few moments. • [Jura nods assent. 

Alice {aside, looking intently at Jura). Where have I seen 

that man before ? 

Roy. Let us go into the conservatory. I am sure we shall 
find it cool and pleasant there. Sir Geoffrey, give your arm to 
Lady Darrell. 

[Sir Geoffrey gives Lady Darrell his arinj they 
cross and EXEUNT, l. i e. 
Dale, will you give your arm to the Countess .? 

[Dale comes down R. of Alice. Roy takes Viola's 
arm and EXIT with her, l. i e. 
Jura {quickly crosses to Alice, and offers his arm'). Allow me. 
[Alice hesitates j tJien takes his ar7n. They cross and 
EXEUNT, L. I E. 
Dale {looking after them angrily^. Cut out by that con- 
.founded foreigner! Who in the deuce is he, anyway? He is a 
count ; he has that magic title tacked to his name, that dazzles 
the eyes of all women. I'll go after them. {Starts a step or two 
toward l.) What, and see him gloat over the countess, of whom 
he has taken possession? No; I'll turn to man's comfort, that 
always remains to him. {Up to c. D.) I'll go into the garden and 
smoke a cigar. {EXIT, c.) 

ENTER Alice, h^tniedly, l. i e. 

Alice. I slipped away from them. I can't endure this. He 
loves her, and I came between them ; but for me she would have 
been his wife. Oh, I am unhappy, miserable! {Crosses during 
speech to R., and sinks into chair behind screen.) 

ENTER Viola quickly, l. i e. She looks about, but does not 

see Alice. 

Viola. I must speak to this Count Jura at once. Did he no- 
tice me leave the conservatory ? {Looks off, L.) Yes ; he is 
coming. 

ENTER Jura, l. i e. 

Jura (/^ Viola). Well? 

[Alice starts at the so^lnd of Jiis voice j she can)iot help 
hearing their conversation. 
Viola (l. c. ; imperiously). Why did you come here? 
Jura (l. ; laugJis). Why did you come? 



Of, A Stran§:e Marriage* 29 

Viola, That is not an answer to my question. I am an 
invited guest here. 

Jura {lightly). So am I. 

Viola. How came you to be invited ? 

Jura {matter-of-fact tone). I met Lord Darrell in Italy, where 
I was masquerading as a count ; he invited me to his home ; I 
accepted, 

Viola {angrily). Again I ask, why did you come.'^ 

Jura {laiigJis banteringly). To be near my dear sister, I am 
your only living relative ; it is but natural I should wish to be near 
you. 

Viola. You must leave here. There is too great danger that 
tliTfe imposture be discovered. Should the London police get 
upon your track, should it become known that you are my brother, 
what would these people think ? 

Jura. You mean, what would Roy Darrell think.? {Angrily.) 
Why didn't you grasp Lord Darrell when you had the chance.'' 
What fool's nonsense was in your head .? 

Viola {sadly). Love. 

Jura. Love ? {Laughs.) No, no, sister mine ; to lose a title and 
a fortune for love ? Some other tale, please. 

Viola. It is the truth. I loved Lionel Wyndham. You did 
not see — )'ou were blind to what was going on in our little cottage 
at Hampden, when Lionel's regiment was quartered close by. 

Jura {threateningly). If I had known it, it would have ended 
long before it did. 

Viola. When I came to the castle, you thought I did so to 
please you. It was to follow Lionel. I had grown jealous. He 
was changing toward me. Lady Darrell had often written to press 
me for a visit, so I embraced the opportunity. Roy did exactly as 
you prophesied, — fell in love with me at once. I cared only for 
Lionel. A coolness arose between the two men over me. The 
day before the murder, Roy came to me and begged for my love. 
I accepted him, resolving to be a foal no longer. Then came the 
murder — his marriage — and he was lost to me forever. 

{^READYV^OY, to enter I., i e. 

Jura. Forever ? {Slozaly.) That is a long time, Viola. I 
do not think you need wait that long. 

Viola. Don't be absurd ; do you forget that he has a wife ? 

Jura {slowly). No ; but if you play your cards right, I fancy 
he will forget it before long. 

Viola. Leave me to play my cards ; but if you wish me to win, 
leave here at once. Go, go ! 

Jura {mockingly). Now that is sisterly affection ! No, my 
dear ; my visit has a purpose. Until it is accomplished, I remain. 



30 My Lady Darrell; 

Viola. What is your purpose ? 

Jura {laughs^. Inquisitive woman! Later, sister mine, you 
shall know. {Takes her ann^ and they EXEUNT Q.^ talking:) 

K\AC¥. {staggers fro7n behind scree?i). Am I dreaming? Her 
brother ! Police ! Let me think. {Presses hand to forehead.) 
Shall I tell my husband of this? \Laughter heard off i.. i e. 

No ; he would call it a silly fancy, and I should be laughed at. 
{Stands dejectedly r., with her back toward L.) 

ENTER Roy, l. i e., with bouquet. He mistakes Alice for 
Viola, and crosses to her. 

Roy {in a low., eager tone). Viola, I have kept my promise ; 
here are your flowers. [Alice turns. 

{Taken aback.) Lady Darrell — you! {Is stcddenly struck with 
her appearance.) How beautiful you are ! 

Alice {simply). Thank you ; I trust I am to your satisfaction. 
If you wish to find Miss Vaughn, she just stepped out on the balcony. 

Roy {confused). I brought her some flowers ; she always 
likes them. 
' Alice {noticing his confusion^. Flowers such as these are 
worth liking. I never saw so many wonderful plants until I came 
here. 

Roy {looking intently at her). Our hot-houses are considered 
■ very fine. We must go over them together. 

Alice. I am afraid it would be too much trouble, my lord. 

{^RE A D Y N\<d\.K and]\}KK to enter c. 

Roy. Trouble? Oh, no ! I had almost forgotten ; my mother 
wishes you to wear the Darrell diamonds to-night. See, I have 
brought them to you. {Opens cases he has in hand; shows dia- 
monds.) 
[READ V Lady Darrell and Sir Geoffrey to enter l. i e. 

Alice {impulsively). How lovely ! 

Roy. Now put them on; I will assist you. {They get toward 
c. He puts necklace aiid diadem on her, as Aiacy. ptits on rings., 
etc. He stands off and surveys her.) Now, tell me at what hour 
you will be free to-morrow, and I shall be at your service. 

Alice. I am free all day. 

'^OY {taking her hand). Then we can — 

ENTER Viola, c, followed by Jura. She takes in the situa- 
tio7i at a glance., and frowjis. 

Viola. Ah, Lord Darrell, I have been looking for you. {Comes 
down L. c, between Alice and Roy. Jura comes down R. of 
Alice.) 

R., Jura. Alice, c. Viola, l. c. Roy, l. 



Off A Stfan§fe Marriage^ 3 J 

Alice. I am trying to console my husband, Miss Vaughn ; he 
was seeking you disconsolately with his promised gift of flowers. 
{Crosses to Jura, who has been watching her intently.^ 

[Roy watches theni^ and gives flowers mechanically to 
Viola. READY Dale, to enter c. 

ENTER Lady Darrell and Sir Geoffrey, l. i e. 

Viola {to Roy). This is very kind of you. 

Roy {looking abstractedly at Alice). Oh, no ; not at all. I 
promised them. \_They go np stage^ and talk apart. 

Lady Darrell {to Sir Geoffrey ; looking at Alice, who is 
talking apart to Jura, r.). Where does she get her manner? 
Sha is a patrician from head to foot. 

Jura {to Alice). Countess, you are divine, superb ! These 
old halls have seen no one to compare with you, my Lady Darrell. 

Alice. You flatter me, Count. 

Jura. Flatter you ? Ah, my Lady Darrell, you judge me 
harshly. I never saw life or happiness until 1 beheld you. 

Alice {uneasily^. You are attracted by the diamonds, not me. 

Jura. Diamonds ? {Notices diamonds for the first ti7ne.) So 
you wear the celebrated Darrell gems to-night. Countess, you 
would be good booty for a robber. 

ENTER Dale, c. He speaks to Roy a>id Viola a mojnent, 
then drops dow?i c, behind sofa. 

Alice {laughs). But I am not afraid of robbers. 

Jura. Women are always brave. Now, I am a man, but I 
don't mind confessing that I should not care to sleep in a room 
with those world-famous jewels. 

Alice. I have never tried it. I shall do so to-night for the 
first time. I will let you know to-morrow whether my slumbers 
are disturbed. 

Dale {crosses to Alice). Lady Darrell, this is unfair. You 
haven't given me a five-minute chat this evening. 

Alice {laughing). To-night is my first experience of this kind ; 
usually I could give you hours. {With a sigh.) I suppose to- 
morrow I sha'n't have a soul to speak to. 

Dale {quickly). Then mark my name down on your engage- 
ment hst ; I shall call after breakfast and occupy your whole day. 

Alice {laughs). I am sure you will be welcome. {They go up 
the stage ^ talking.) 

[Roy and Viola come down. Roy crosses to Lady 
Darrell and Sir Geoffrey. Viola stands c, 
looking at Jura a inoment. Then she looks at Roy 
ajid Lady Darrell. 



32 My Lady Darrcll; 

]VRA {R., aside). To-night! To-night! To-night, she said. 
It is well. {Looking at Alice.) How beautiful she is ! What 
are diamonds to such loveliness 1 If I could clasp her in my arms, 
and press my Hps to hers — ! Pshaw, I'm raving; it can never 
be. George, old fellow, wake up ! Remember, you have work 
to-night. \Stands r., looking at Alice.) 

Lady D. {to Roy, looking at Alice). Roy, she does well to- 
night. How beautiful she is ! 

Roy {to his niothei'). Thank you, dearest; she is, indeed, most 
beautiful. Mother, I begin to think we have judged her harshly. 
Recollect, she married me to save my life. [Jura goes tip R. 

Lady D. I do remember it, and in the future she shall be 
welcome to me as my daughter. My pride has been against her 
all this time, but to-night she stands revealed a lady. You have 
no reason to blush for your wife. 

Roy. I shall see the Paiseys, and make every inquiry about 
her birth. I am certain she has proud blood in her veins, and 
does not belong to them. 

_ Viola {who has been listening). Discussing my Lady Darrell? 
" She has really astonished me. What a born actress the girl is ! 

Roy {coldly). Actress? It is not acting. Miss Vaughn; it is 
nature. 

Viola {changing her tone). I congratulate you; it has been a 
severe test, and no one among your friends is more pleased at her 
success than I am. 

Roy {warmly). Thank you, Viola ; it is like you to be so 
kind. I am anxious that you should be friends with my — my — 
the countess. You are so clever ; you can help her. 

Viola. My Lady Darrell does not need my aid. But, Roy, 
smQ.& you wish it, I will be her friend for your sake. 

Roy {takes Viola's hand for a moment ; to Lady Darrell 
and Viola). Excuse me. {Crosses to Alice, who is coining 
down stage with Dale, Viola watching them.) 

Sir Geoffrey {offers Lady Darrell his arm j they start l., 
then stop). I am afraid Roy's request was rather ill-timed. 

Dale. Alice. Roy. 
[Sofa.] 

Viola, 
r., Jura. Lady Darrell. 

Sir Geoffrey, l. 

Lady D. What request? 
Sir G. Asking Miss Vai 
Lady D. You are righl 
.Roy should not have asked her. But he* is like all men — clumsy 



Sir G. Asking Miss Vaughn to be his wife's friend. 

Lady D. You are ris^ht. Viola will never be her friend. 



Or, A Strangle Maffia§:e* 33 

Sir G. Now, that is slandering the poor men ; I protest. 
{EXIT I.. I E., with Lady Darrell, laughing arid expos tulalijtg.) 

Roy {to Alice). Will you walk as far as the conservatory ? I 
will get you an ice. 

Dale {mock-tragically^. I have Lady Darrell's promise to eat 
ices with no one but me. 

Roy {laughing). Remember, I am this lady's husband, and 
for the first time I exercise my authority, and command her to 
obey me. 

Alice {laughifig). I yield. {Takes Koy''s ar7n; they start l.) 

Dale {calling after them). I have always heard that hus- 
bands were brutes ; now I believe it. 

Roy {crossing in front of Viola, l.). Come, Jura. Miss 
Vaughn, won't you join us .? 

Viola. Thank you, presently. 

{^EXEUNT Roy and Alice, l. i e., Viola looking 
after them. 

Dale {coming down c. ; to Viola). Don't you think the 
countess charming ? 

Viola (l.). That is a matter of taste ; she seems to have 
turned all of your heads. Have you all lost your senses ? 

Dale. We should certainly have lost our sense of the beauti- 
ful if we did not appreciate the loveliness of the countess. 

Viola {sneeringly). Lord Darrell had best be careful ; with 
such an ardent admirer of his wife's in the house, he may lose 
Lady Darrell. 

Dale {indignantly). Lord Darrell is my friend. I am his guest. 
A gentleman never forgets the respect due the wife of his host. I 
wish I could say as much for the lady guests. 

Viola. You are insolent. 

Dale. I mentioned no names. 

Viola. I suppose that is a specimen of your cheap wit. I fail 
to find it amusing ; try again, when I am in better humor. 

Dale. I am afraid my cheap wit will never find favor with 
you. I think tragedy is more in your line. 

Viola. Really, you are dense. I have always given you 
credit for good sense, but if you continue in this way, I must doubt 
your sanity. 

Dale. But you can never doubt my intentions. {Crosses l.) 
Miss Vaughn, I was one of the first persons in this house who met 
Lady Alice. While in the forest at the scene of the tragedy, I 
conceived a strong liking for her; I am proud to be numbered 
among her friends. And as her friend, I shall always be in read- 
iness to defend her or to come to her aid. {Bows to Viola, and 
EXITi.. 1 E.) 



34 My Lady Darrell; 

Viola {looking after Dale). Fool ! Oh, this girl with her 
baby face — if I could but crush her, could but disgrace her ! 

Jura {approaches quietly j beside Viola). You can. 

Viola {turns quickly). What do you say ? 

Jura. I say you can rid yourself of her forever, and at the 
same time make it possible for you to become Lady Darrell. 

Viola. How ? How ? 

Jura. Listen, sister mine. You know me too well to think 
that I am here merely for pleasure. No, no ; it is business that 
brings me here. 

Viola {sneeringly). Stealing? 

Jura. Exactly. I am here after the Darrell diamonds. 

Viola. Impossible ! 

Jura. Not so. Lady Darrell wears them to-night. What 
could be easier than that you should slip into her room under pre- 
tence of a good-night chat ? A handkerchief, a little chloroform, 
and the diamonds are mine. 

Viola. And you expect me to help you in your devilish work ? 

Jura. Certainly. 

Viola. I will do nothing of the kind. I will not listen to any- 
thing more you have to say. I will join the others. {Starts 
toward l.) 

Jura {threateningly). Oh, yes you will, when I show how you 
will be benefited. [Viola stops. 

Viola {turns to him). Well, how? 

Jura {laughs softly). It is well known that Roy Darrell does 
not love his wife — that he has neglected her. He left home im- 
mediately after his marriage, and has just returned after four 
months' absence. During that time the countess has been little 
less than a prisoner in her own room. This is the first time she 
has appeared among the guests in this house. She meets a gen- 
tleman {draws himself up), a good-looking, pleasant, agreeable 
gentleman, who pays her marked attention. Suppose, to-morrow 
morning, Lady Darrell and that gentleman, together with the Dar- 
rell diamonds, should be missing, what conclusion would people 
naturally reach ? 

Viola {quickly). Elopement! 

Jura. You have voiced the general opinion. 

Viola {doubtfully). Roy may not believe it. 

Jura. What ! {Insinuatingly.) And you here to fit in the 
details ? 

Viola. But where will you take her? Roy would follow, to 
kill you for outraging his hospitality; and Dale — do not forget 
that he is a friend of Lady Darrell's who will be hard to escape. 

Jura. Do not fear, sister mine ; I have my plans all laid. You 



Of, A Strangle Marriage* 35 

know the old abbey ruins? Under those ruins there are vaults 
whose existence I doubt even the owner of the abbey suspects. 
One of my pals, an old hag, and her daughter are there. To-night 
they will be in the grounds to help me if necessary. We can 
easily keep my lady under the influence of chloroform until we get 
her in the vaults ; there we will stay for a few days while they 
search the country. Then I'll slip off to my den in London, and 
at the first opportunity we will sail for Italy. 

{READ Y Roy and Alice to enter l. i e. 

Viola. How can you hope to subdue her so that she will yield 
to your plans '^. 

Jura. Leave that to me. Once she is convinced that her hus- 
band and the rest of them think she is a thief — that she stole the 
diamonds and eloped with me — it will be easy enough. Come, 
will you aid me ? 

Viola {thinks a moment^. Yes. 

Jura. Good. Here is where I can be found in London. 
{Writes on card.) Should any danger threaten, don't write, but 
come. {Gives Viola card; looks l.) Here come Roy and Lady 
Darrell. You get Roy out of the way, and be sure to drop a few 
hints of the attentions I am paying his wife. 

ENTER Roy a?id Alice, l. i e. 

{Sauntering toward r.) Yes, Miss Vaughn, I have seen many 
bull-fights in Spain. They are, indeed, exciting — don't you think 
so, Lord Darrell? [Viola, c. 

Roy (l). No, I can't say that I do — I never attended but 
one, and to my mind it was brutal. 

Viola (c). I quite agree with you. Lord Darrell. 

Jura (r. ; Z^* Alice). What is your opinion. Countess ? 

Alice {crosses c, to Jura). I think the same as Miss Vaughn ; 
it is inhuman to torture dumb brutes. 

Viola {aside to Roy). Roy, I would like to talk with you a 
few moments. Will you take me into the garden ? 

Roy. Certainly. (Tl? Jura «;/^ Alice.) Excuse us Count — 
Lady Darrell ? 

[Alice and Jura bow j Roy and Viola EXEUNT 
c. ; Alice starts towards l. 

Jura. Ah, Countess, don't leave me, come sit here, we can 
have a quiet little chat. 

Alice, Really, Count, I have my guests to attend to. 

Jura. Am I not one? {PiiACY. sits on sofa; aside.) She is 
unhappy. I might win her without force ; I'll try. {Sits on sofa 
beside Alice ; aloud.) So you think the Spaniards are cruel to 
indulge in bull-fights ? Well, perhaps you are right. It is a beau- 
tiful country, but not so fair as Italy. 



36 My Lady Darrell; 

Alice {dreamily). I should be glad to travel and see other lands. 

Jura. You would? How would you like to leave this cold, 
desolate place, and see nothing but blue sky, sunshine, and flow- 
ers? Fancy a garden with orange-groves scenting the air, with 
terraces leading down to a bay as blue — as blue as your star-like 
eyes. Ah, one can be happy in a home like that ! 

Alice {eagerly). Do you know of such a place? 

Jura. Yes, I know of such a paradise ; it is mine — all mine. 
Now it stands empty and deserted ; it only awaits a mistress — a 
mistress fair, lovely as the sun, with gentle grace and maddening 
eyes ; eyes such as yours — 

Alice {attempting to rise). Count — 

Jura {his arm around Alice's waist j passionately). Alice, 
you are the only woman in this wide world that could bring hap- 
piness in such a home. Have not my eyes spoken clearly ? Did 
you not understand ? [Alice struggling to free herself. 

Alice, my Lady Alice, listen. I will take you away from all this 
gilded misery. You are wretched here ; I can give you all this, 
and love besides. You cannot comprehend what a passion is 
devouring my heart ; for you I live alone, for I love you ! 

{READY ^OY andYioi^A to enter c. 

Alicy. {breakifig away from him J c). Let me go ! How dare 
you insult me like this ! 

Jura {rises). Insult? What! you pretend not to have seen 
my love? 

Alice. Your love ? {Scornfully.) I have seen nothing. If I 
had, should I be here to be insulted? Go; go at once ; you are 
my husband's guest, but you betray the trust he reposes in you. I 
scorn, I hate you ! 

{READY Dal.^, Lady Darrell, and Sir Geoffrey 
to enter l. i e. 

Jura (r. c). Beware, my Lady Darrell ! I am your friend — 
your lover — now ; but make me your enemy, and I will fight you 
to the bitter end. 

Alice. I am not frightened. A man who threatens a woman 
is a coward. Go ! 

Jura. You shall sue to me yet ; you shall be in my power. I 
swear it ! {Quickly puts his arm around Alice ; as he does so) 

Viola atid Roy ENTER c. Viola points to Jura and Alice. 

I love you, and I will not give you up ! 

[Roy comes down quickly., l. of Alice. Viola comes 
down L. ^RoY. 
Roy {to Alice, in a rage). Lady Daj*rell, what is the meaning 
of this ? 



Or, A Strangfe Marriage* 37 

Alice. It means that this man has betrayed your hospitahty 
and insulted me. 

Jura {^passionately). It is a lie! You accepted my advances 
willingly. 

Alice. Lord Darrell, that you do not love me, I know. But if 
you respect the name I bear, you will resent this insult — you will 
strike that man! [Roy crosses quickly^ a7id knocks ]\jka down. 

ENTER Dale, Lady Darrell, and Sir Geoffrey, quickly, 

L. I E. 

Picture. 
Viola. 
^ Alice. Dale. 

Roy. Lady Darrell. 

r.. Jura. Sir Geoffrey, l. 

CURTAIN. 



38 My Lady Daffell; 



ACT III. 

SCENE I. — A rooi?t in Lord Darrell's house. Plain cham- 
ber in 1st groove. Doors r. c. and l. c. in the fiat. READY 
Lady Darrell to enter r. c. 

Roy {speaks outside at rise of curtaiit). James, have the horses 
saddled and ready in an hour. {ENTER, l. i e.) By Jove ! I 
never felt better in my life. If it wasn't for the dark cloud of 
Captain Wyndham's death that hangs over me, I should say 
this is the happiest day of my life. How beautiful she was last 
night ! No lady in the land could have been more superb. That 
scoundrel Jura, I should shoot him, but I shall rest content with 
branding him a scoundrel. He shall leave here to-day. How 
Alice's eyes flashed as she denounced him ! There is blood in 
her veins as blue as flows in any Darrell, I am sure of it. I have 
left her all these months neglected, unhappy, despised ; but now 
all shall be changed. How do I know she will forgive me ? This 
morning I shall ask her pardon, and if she grants it, we will go to 
Italy or some other sunny place, where I will make amends for the 
past. 

Lady Dakkkia. knocks at door and ENTERS R. c. 

Lady Darrell. Up so early, Roy ? 

Roy. Yes, mother. {Kisses her.) I am going for a ride. 

Lady D. With your wife, eh ? {Looks at him laughingly.) 

Roy. Mother, you see all. \_READY Viola to enter l. c. 

Lady D. All. I read it in your face last night. You love your 
wife, Roy; it is good and right that you should. I honor and 
respect Alice ; she will make you a true wife and a proud coun- 
tess. You do love her, Roy ? 

Roy. Yes, mother ; I do. I did not know how much until 
now, when I hear you praise her. This morning I shall write to 
Paisey or his wife, to inquire about Alice's birth. There is some 
mystery ; I feel sure that she is nobly born. 

Lady D. I agree with you, and we must discover the truth. 

\_Knock at door L. c. 

Roy. Come in. 

ENTER Viola, l. c, simulating suppressed excitement. 



Oft A Sttan§:e Mama§fe, 39 

Viola (l. c.)- Roy, something dreadful has happened ! The 
countess has disappeared ! 

Roy {q.., puzzled). Disappeared? [Lady Darrell, r. 

Viola. She is not in her room, nor did she sleep there last 
night. I think she has left the castle. 

Roy {ca7'elessly). She has gone for a walk. How can you be so 
absurd ? She is about the grounds somewhere ; she will be in 
directly. 

Lady D. There is some mistake, surely. 

Viola. That is not all ; the castle was robbed last night, 

[Lady Darrell and Roy start. 
The butler says three of the gold cups, and several of the plates 
were stolen, 

Roy {impatiejitly). What has that to do with my wife.? 

Viola. Much or little. The Darrell diamonds are gone. 

Lady D. {startled). What are you saying? 

Viola, And your guest. Count Jura, has disappeared too. 

Roy {in desperation). Merciful Providence, Viola, what are 
you concocting ? 

Viola, A tragedy. 

Roy. Speak plainly — what do you mean? 

Viola. I mean that you have been robbed and deserted ; 
they have fled together. 

Roy. It is false ! \y\(d\.K pretends to be wounded. 

Forgive me, Viola ; I don't know what I am saying. I think I am 
mad. Oh, this is too horrible ! It cannot be true ! 

Viola. Remember what you saw when we came upon them 
unexpectedly last night. 

Roy, ' That is no proof ; he had insulted her ; she called upon 
me to resent the insult, 

Viola {quickly). A subterfuge. She found herself trapped ; 
her quick wit invented a means of escape. I'll warrant she is 
laughing now at the ease with which she imposed upon you. 

Roy {in despair). And I thought her so pure and true ! 

Viola {with sy?npathy). Don't take it so badly; remember 
how she has disgraced you — think of her only as one utterly 
unworthy — 

Roy. Stop, Viola, she is my wife. Had I not forgotten that, 
had I given her the love which was rightfully hers, the love for 
which she hungered, this would not have happened. No, it is I 
who am to blame. 

Viola {eagerly). Do you intend to follow them ? 

Roy, I shall seek Jmn, if I have to go to the end of the world. 

Lady D. {beseeching). Roy, my son ! 

\_READYY)M.Y.^ to enter l. c. 



40 My Lady Darrell; 

Roy {arms about his mother). Don't grieve, mother ; it is but 
another bitter blow ; we shall survive it as we survived the other. 

Viola {crosses to Lady Darrell). Come, Lady Darrell ; we 
know the worst now. 

Lady D. {tip to door\.. c. with Viola; turns to Roy, brokenly). 
Heaven's will be done, my son. 

Roy {to Viola). Viola, you will stay with my mother ? 

Viola. Until you bid me go. {EXIT door l. c, with Lady 
Darrell.) 

Roy. It is fate — the cup of happiness but raised to my lips, 
when it is dashed away ! 

ENTER Dale, quickly., door l. c. 

Dale. Roy, I have just heard — 

Roy. Spare me ! {Raises his ha7id to stop Dale). 

{^READY '$>\K Geoffrey, to etiter doorh. c. 

Dale. There is no time to mince matters. I have had all the 
particulars from the servants. It is suspected that the countess 
has eloped with Jura, but I tell you you are the victim of some 
horrible treachery. 
^ Roy {eagerly). Why do you think so 1 

Dale (c). I don't know; I feel it here. {Hand on heart.) 
A man, your guest, has disappeared ; at the same time your wife 
is missing ; some one tells you they have eloped, and you believe 
it. I knew or saw but little of the countess, but if all the scandal- 
tipped tongues this side of purgatory said she was false, I would 
tell them they lied. 

ENTER Sir Geoffrey, hurriedly, door l. c. 

Sir Geoffrey (l). Dale, I have been doing a little investi- 
gating on my own account. When the countess disappeared last 
night, she was dressed in a loose silk gown, and wore slippers ; 
she hasn't taken a cloak or hat ! 

Dale {to Roy). What did I tell you ? Does a woman elope 
dressed like that, when there is a stock of clothing hanging within 
reach ? 

Roy (l). How do you account for her absence? 

Dale. In a dozen different ways. She may have been deliri- 
ous and wandered away. She may have been carried off by that 
infernal Count Jura. 

Roy. Abducted ? Impossible ! 

Sir G. {slowly). I am not so sure that it would be impossible. 
Something happened last night that may have a bearing on the 
case. Listen. After we had all retired, I tried to think whom the 
countess reminded me of. The more I thought, the more firmly 



Of, A Strangle Maffia§:e, 4i 

was I convinced that she bore a striking resemblance to some one 
of my family, but who, I could not fix in my mind. Well, I found 
that sleep was out of the question ; so I rose quietly, dressed, 
slipped out of my window into the garden, and walked a long dis- 
tance down the road. As I turned to retrace my steps, a cart 
came along, and it struck me then that it was rather late for farm- 
ers to be abroad ; but preoccupied as my mind was, I thought no 
more of it. Just as the cart was opposite me, I struck a match to 
light my cigar. The men seemed startled when they saw me. 
They whipped up the horse, and one of them said, " Hold her 
down ; " and now that I remember it, he didn't have any dialect, 
but spoke in remarkably good English. 

Dale {in a tojie of convictioji). Roy Darrell, your wife was in 
that cart. 

Roy {gravely^. I believe it. What shall we do .? 

Dale. Do ? Get detectives down here at once. Scour the 
country, trace these devils, until we land them in jail and rescue 
Lady Darrell. 

Roy {grasping Dale's hajid), God bless you, Dale. You 
have given me hope. 

Sir G. I'm off to order the horses. {EXIT^ doo?- l. c.) 

Roy {crosses to door, l. c). Come, Dale ; I shall never rest 
until I hold her in my arms. {EXIT, door l. c.) 

Dale. It's funny how little we value a thing until we have lost 
it. {EXIT, door l. c.) \^Flats are drawn off, disclosing 

SCENE II. — The vaults of the old abbey — a Gothic chamber 
will answer. See scene-plot for description. Lights half 
down. Jura, dressed roughly, as in Act /., is discovered c, 
looking at Alice, who lies on the stage at his feet, as though 
he had J2ist brought her in. 

ENTER Mother Cripps, r. 3 e. 

Jura {to Mother Cripps). Here, I've brought something. 

Mother Cripps. Something forme, George.? {She speaks in 
a cracked, high-pitched voice.) 

Jura. Yes ; something for you to look after. 

Mother C. {comes down c. ; sees Alice ; in stirprise). A girl ? 

Jura (l. c. ; ijnpressively). A lady; and as such you must 
treat her, or you will tell me the reason why. 

Mother C. (r. c). What have you brought her here for.? 

Jura {rojighly). That's my business, not yours. All you have 
to do is to wait on her; see she has everything she wants. Kate 
can help you. 

Mother C. {examining Alice). You have drugged her? 

Jura. Yes. [READY Kate, to enter l. 3 e. 



42 My Lady Darrell; 

Mother C. How long will she stay "here ? 

Jura. As long as I find it convenient — two or three days per- 
haps. Long enough to let them search this neighborhood, and be 
looking farther away. Now, watch her carefully. I expect her 
to wake in a few minutes ; give her some water ; she may go off 
to sleep again. I must go back to Toby, bring in the swag, and 
close up the entrance. You shall have something for your pains. 

Mother C. {eagerly^. Diamonds .f" You promised me dia- 
monds the next job, George. 

Jura. You shall have them. Now, remember, look after her. 

[Alice moves. 
She is moving. Where is Kate? 

Mother C. {iioddi)ig to l.). Asleep in the next room. 

Jura. Keep her there for to-night. {EXIT, r. 3 e.) 

ENTER Kate, l. 3 e. She comes qitietly down l., looking at 

Alice. 

Kate. Mother, who is this ? 

Mother C. (r. c. ; starts; sullenly). It's a girl, as ye can see 
for yourself. 

Kate {crosses ; catches Mother Cripps by the arm; imperi- 
oiisly). Answer me at once, do you hear } Who brought her 
here — Toby or George ? 

Mother C. {hesitates ; sullenly). Why, Toby, to be sure. As 
to who she is, I don't know any more than you do. She looks like 
a lady. 

Kate {gloomily., lookijtg at Alice). She is very beautiful. 
{To Mother Cripps, suspiciottsly .) You swear you are speaking 
the truth ? It was Toby who brought her } 

Mother C. {soothingly). Deary me, of course I spoke the 
truth. What would I tell you a lie for ? 

Kate {conte7nptno7isly). For gold, or for diamonds. 

Mother C. Sh ! she is waking. 

AiAQ,^ {moans J turns uneasily). Water, water ! Davis, water! 

[Mother Cripps gives her water. 
(Alice raises herself up.) Where am I ? Davis, Davis, are you 
there? {Looks about.) Am I asleep? What place is .this ? 
{Sees Kate.) Who are you ? Where am I ? 

Kate {crossly). You are with friends. 

Mother C. {soothijigly). You are quite safe, deary ; lie down 
and rest again. Kate, go away; don't you see you frighten her? 
He will — I mean Toby will be angry. 

Kate. I don't mind Toby's anger. {Bitterly.) Frightened, 
is she ? Oh, I am sorry for her. But that will wear off ; she will 
see a good deal of me ; she'll get used to me in time, perhaps. 

\_READV]\JKA, to enter r. 3 e. 



Oi-^ A Strangfe Mafi*ia§:e. 43 

Alice {risings kneels at Kate's /k^/). Oh, have pity, help me ! 
I don't know what has happened to me — I can remember noth- 
ing clearly. I seem to have been asleep, but I feel, I am sure, 
something terrible has come to me. I am frightened at this 
gloomy place ; help me get away — you are a woman — ■ you will 
help me ! 

Mother C. Come, come. {Trying to take Alice's ar7n to lift 
her.) - You must lie down again and go to sleep. You will be ill. 

Alice {pushes Mother Cripps away j clings to Kate). Oh, 
have pity, help me ! Take me away out into the air ! For 
Heaven's sake, help me ! 

Kate {stoops down to raise Alice ; hears Jura coming ; rises; 
spkeaks coldly). Here is some one coming who can help you. I 
can't plead to him. 

[Alice hears Jura's footsteps, r. ; rises., and tu?'jis 
toward door., hands outstretched. 

ENTER Jura, r. 3 5. He comes c. to%uar-d Alice, who recog- 
nizes hifn, and crouches away. 

Jura (c). You are ill ; rest here a while, and you will — {At- 
te?npts to take her hand.) 

JurA, c. 
Mother Cripps, r. Alice, l. c. Kate, l. 

Alice {recoils fro^n him). Don't touch me! O Heaven, what 
terrible thing has happened to me t 

[Jura starts to catch Alice. 

Kate {steps in front of him). Leave her to me. 

Jura. I will take care of her. 

[Kate shakes her head; supports Alice. EXEUNT 
Kate «?/<^ Alice, r. 3 e. READY TcmY., to enter 
R. 3 E. 

Jura {looks^ and takes a step or two after them j then turns 
toward Mother Cripps). She will be kind to the other one ? 

Mother C. (r.). Yes ; Kate is a strange one, but she ain't 
cruel ; she thinks it's Toby's girl. I told her so. I thought it best. 

Jura (l.). You did right. Though I don't care much — she 
must know sooner or later. I mean to make that golden-haired 
girl my wife. 

Mother C. Do you, George .'* How will you do that ? I see 
she wears a wedding-ring already. 

Jura. Have you lived all these years. Mother Cripps, to learn 
from me that a ring does not make a marriage ? 

Mother C. Well, well, it's nothing to me. But what about 
the diamonds, George ? '^' 



44 My Lady Daffell; 

Jura. Toby is bringing them. Here he is. {Doivti R.) 

ENTER Toby, r. 3 e. Note : Toby can be i}iade a very ef- 
fective Cockney dialect part. 

Toby. Halloo, Mother! What, all alone? {Coynes c. ; ptits 
bag carefully iipon floor.) Where's Kate.f" 

Mother C. Kate ? In there. {Nods toward l.) She's been 
out, doing her duty. 

Jura. Where was that .^ 

Mother C. Scouting around the Grange, a few miles from here 
— there's a lot of plate there, with a small fortune. It's the next 
crib to crack. 

Toby. Well, I think we've done enough in this neighborhood ; 
we'd better slope. The whole country will be out on the hunt 
after carrying off this countess. 

Jura. Well, this will be our last job. We will leave after 
that. l^READY Kate, to enter l. 3 e. 

Toby. Let's leave now. We'll be cabght like rats in a trap 
in this place, some day. I won't have a finger in that job, 
Gss^rge. 

Jura. I am not afraid, my dear Toby, if you are. Courage, 
my friend ; and remember, you join in the game at the Grange, I 
command you. {Takes bag j crosses to table, l. ; puts bag on ta- 
ble, and takes out cases of diamo7tds.) 

[Toby jnutters and crosses down R. Mother Cripps 
goes behind table l. 
{Puts diamonds on table j to Mother Cripps). Here, here's 
your share. Mother Cripps. {Gives her a dia7no7td ring j turning 
to Toby.) Toby, what will you have ? 

Toby {sullenly). Nothing of that lot ; give me the cups and 
plates. 

Jura {laughs sneeringly). Toby, you're growing cowardly. 
Well, take the cups and plates ; I keep the diamonds. 

\^EXIT Toby, muttering, r. 3 e. Jura crosses r., ex- 
amining dia?nonds Mother Cripps co7ties down 
Y.. front behind table. 

ENTER Kate, l. 3 e. She stands in the doorway. 

Mother C. What will you do with the diamonds, George ? 

Jura. Take them abroad, and dispose of them there. {Ad- 
miring the dia?no7tds.) 

Kate {aside). Take them abroad ? He is going away, and 
takes her with him. Coward ! he forgets me. 

Jura {looks up j sees Kate). What are you muttering about, 
Kate.? 



Or, A Strange Marriage. 45 

Kate. Nothing. {Comes toward c, a little tip stage.) I was 
thinking of those diamonds. 

Jura. Well, go into the vault and put one of your old dresses 
on the lady. 

Kate (coldly). She may not wish to change her dress. 

Jura, Tell her it is to help her escape. 

[Kate looks at hi))i sharply. 
{Roughly^ Do you hear me .^ 

[^^Jr/T" Kate, sullenly., l. 3 e. ; READY to re-enter. 

{Co7)ies c. ,* looks after Kate.) Motl>er Cripps, Kate is getting to 
be a nuisance. You must keep her in check, or look out for 
another berth. 

Mother C. {whining). She's only a bit foolish, George. 
{Coming toward ]\JRA.) I'll speak to her, and tell her you ain't 
pleased with her. She ain't a bit like me ; she takes after her 
father. 

Jura {roughly). Well, I can't be worried with her foolishness 
{crosses l.), and there's the end to it. 

Mother C. I'll speak to her, George, I'll speak to her. Now, 
I must go to get some wood for the fire, {EXIT, r, 3 e.) 

Jura. Well, you can speak to her or not; I'll be rid of you all 
before long. {JRetires up stages lies dowfi oj^ rugs.) 

ENTER Kate, l, 3 e. 

Kate (l, c. ; looks about cautiousty ; doesn't see Jura; looks 
off I.. 3 E, ; speaks as if looking at Alice; bitterly). Yes, she is 
here against her will ; he has carried her away, drugged and insen- 
sible. Who is she ? Her hands are white and soft. I will help 
her ; my heart burns against her ; she is in my power ; yet I can- 
not do her any harm. It is he who shall suffer. He loves her; 
yes {comes down c), there was a looTc on his face that he never 
gave me. He shall suffer, I will get her away — I will help her 
to escape. 

Jura {has come down stage quietly j stands behind Kate, lis- 
tening; at the end of her speech., he takes her by the throat ). So, 
you viper, you are plotting against me, are you ? {Choking her.) 
Treacherous, eh ? 

Kate {struggles away from him j throws him off., and stands 
panti7ig L, c, ; goes down toward l. corner). Yes ; treacherous, 
if you like ; though it's not from you that such words should come, 
George Vaughn. 

Jura (c). Hush! Dare to breathe that name again, and I'll 
■ — {Raises his hand as if about to strike her.) 

Kate. Kill me ? {Defiantly.) Well, do it. What have I to 



46 My Lady Darrell; 

live for ? You have treated me like dirt under your feet. {Bit- 
terly.^ Do you ever think of my degradation, of my suffering ? 
And now you want to put another woman in my place ! 

[y?if^Z>K Mother Cripps, with wood, to ent'er r. 3 e. 

Jura. I am in no mood for recrimination. Kate, I tell you 
plainly — 

Kate. Have you forgotten all that you swore to me ? Have 
you forgotten your promise that I should be your wife .? 

Jura {coolly). Yes. Come, Kate, don't be a fool. We have 
had our sunshine ; it is gone. {Coaxingly.) But we needn't 
quarrel ; let us be friends. I cannot do without you, Kate — I 
swear it ! 

Kate. Do you mean that } 

Jura. Mean it ? Of course I do. Come, give me your hand 
{holds out his hand) ; let us make up. 

[Kate shrinks away j then, as if a thoiight struck her, 
gives him her hand. 
Now you are my wise Kate once more. I want your help. This 
plate must be taken to London at once, and melted. 

ENTER Mother Cripps with wood, r. 3 e. She comes 

dowfi R. 

Here, Mother Cripps, I want you to go down to London with 
Kate. She will take the plate to Moses to melt, and you will get 
the den ready for me. I will leave the lady there while I go 
abroad to dispose of the diamonds. I shall be gone only a week 
at most. Come, get ready to start. 

[Mother Cripps goes u.p r., puts wood on stage, gets 
shawl, etc. 

Kate (l.). And does she {pointing l. 3 e.), stay with us ? 

Jura. Yes, of course. {EXIT r. 3 e.) 

\^RE A D Y ]\i^K and Toby to eiiter r. 3 e. 

Kate {comes up c, looking after Jura). He lies to my face. 
Traitor ! coward ! he thinks I am helpless, but I shall find a way. 
{Defiantly?) He shall soon learn what it is to break the heart of 
Kate Cripps. {EXIT i.. 3 e., READY to re-enter?^ 

Mother Cripps {co?nes down c, putting on shawl and hood, 
chuckling). Well, well, I am going back to London, back to all 
my boys — my boys that earn the money for old Mother Cripps. 
I am glad to go. {Crosses l. c.) 

ENTER Jura, r. 3 e., followed by Toby. ENTER Kate, 
L. 3 E., with hat and jacket on. 

Jura (c). Ah, Kate, you are ready ? You're a treasure. 
Here is the key of the house. Bill will meet you at the station. 



Or, A Strange Marriage^ 47 

Empty the sack {puts diamonds, etc., into sack), lock them away, 
you know where. Go to Moses, and tell him to get his melting- 
pot ready. I shall be in London in a couple of days. 

Toby (r.). How are ye going to get the loidy {points l.) to 
Lunnon? That'll be risky. 

Jura. I have a very easy way of doing it, never fear. 

Kate (l. ; points to ring on Mother CRiPPs'sy^V/^^r). George, 
have her take that off ; it isn't safe. 

Jura {to Mother Cripps). Yes, take it off. 

[Mother Cripps, l. c, takes offidng sullenly, and gives 
it to Jura. 
Kate is wise. Be careful, Mother Cripps ; be careful. 
Mother C. {sullenly). Oh, I'm to be trusted. 

Jura {crosses down to l. corner). Of course. Now, Kate, it's 
time to start. Remember all you have to do. You're always safe, 
my girl, always safe. 

Mother C. Good-by. {Crosses^.; laughs). I'm off to 
Lunnon, and to my boys. {EXIT v.. 3 e.) 

Kate {goes toward door r. 3 e. ; stops and turns to Jura ; 
appealingly). George, don't go away to-day. 

Jura {frowns'). To-day.? Why, Kate, how could I go, with 
the Grange plant on to-night ? You are forgetting that, 

Kate. Yes ; I forgot that. Good-by. 

Toby (r.). Good-by, and good luck. 

Jura. Good-by ; be careful. {^EXIT Kate, r. 3 e. 

{Comes c. ; looks after her.) She's gone, thank Heaven, She's a 
nuisance. 

Toby. She's" jealous of t'other one. I'd feel better if we was 
goin' to Lunnon ourselves. 

Jura. I didn't think you were a coward, Toby. 

Toby {sullenly). Nor am I ; I'm careful, that's all. 

]\i^K {sneers). Careful.? 

Toby, Yes, careful ; we've got off safe after this job ; let well 
enough alone, ■ We've got enough swag. 

Jura. We can't have too much. My mind is made up — every- 
thing is arranged. I shall go on with the job. 

Toby {desperately). Well, then, go on yourself. I won't be 
in it. 

Jura (c. ; airily). Oh, I think you will, Toby. 

Toby {mocks his tone). Oh, I think I won't, Georgie. {Comes 

R. ^/JURA.) 

Jura {pttts his hand on Toby's shoulder; mea7iingly). Then I 
shall inform Dan Wilkes, when I go up to town, that the man he 
is looking for, the man who murdered his wife, is none other than 
Tob — 



48 My Lady Darrell; 

Toby {in terror). Hush! for Heaven's sake, hush! I'll go. 
curse you ! May you never be in such a push yourself. {Threat- 
eningly^ Let the plant go on, and if the worst does come, I give 
you fair warning, Master George, you shall stand in the dock with 
me. I swear it ! 

[7?£'^Z>F Alice, to enter l. 3 e. 

Jura {laughs'). Don't get angry; the plant won't fail. 
{Crosses toward table ^ l.) 

Toby. And . now for the diamonds. What's to become of 
them ? 

Jura {ticrns j looks at Toby quickly). They are mine ; I 
thought that was settled. 

Toby {sneeri^igly). And the other treasure {pointing l.), is 
she yours too .f* 

Jura {threateningly). She is ; have you any objections ? 

Toby {shr'ugs his shoulders j starts zip r. 3 e. ; turns). You 
are coming with me to-night } 

Jura. Of course. [^EXIT Toby, r. 3 e. 

{Up c., looking after Toby.) To-night will see us separated for 
good" and all, my friend. I am growing sick of your sulky ways. 
I leave you all for a dream of bliss, a life of happiness ■ — after 
these gloomy vaults, sunshine, flowers, love. I never thought a 
woman lived who could move me so ; but once away, alone, and in 
my power, all will go well. {Noise L. 3 e.) She is coming. {Re- 
tires to R. 3 E.) 

ENTER Alice, l. 3 e. 

Alice {cautiously'). The gypsy girl told me I could escape in 
this dress ; no one is here. O Mother in Heaven, look down 
upon me now, and guide me to safety. {Starts up r., towards 3 
e; Jura steps out; Alice screams, and as Jura comes towards 
her, backs towards, c.) 

Jura (c. ; mockingly). Do not shrink from me, fair countess; 
I will do you no harm. 

Alice (l. c. ; desperately). What is it that you want with me? 

Jura. Nothing disagreeable, I hope ; I wish to help you. 

Alice. To help me! Was it not through you that I came 
here? {Disdainfully .) Help me ! Count Jura, what have I done 
that you should treat me in this shameful way? 

{^READY Kate, to enter r. 3 e. 

Jura. Shameful— and you enjoying my hospitality? You 
insult our home {waves his hand at surroundings) and all its lux- 
uries. Come, be friends. {Takes a step toward her, hand out- 
stretched.) 

Alice {shrinks fro?n him). Don't touch me! I loathe, I de- 



Of^ A Strangfe Marriage. 49 

test you ! You are a coward, to treat a woman as you have treated 
me. Let me go, this instant. 

Jura. Go where ; back to the castle.'' That would be unwise, 
my lady. You would only exchange very comfortable quarters for 
an iron cage — in other words, you would be imprisoned for 
robbery. 

Alice {puzzled^. Robbery ? Ah {realizes)^ I understand ; 
you are not a count, you are a thief, and this is your hiding-place. 

Jura {coolly). You have guessed right. Yes {saunters r.), 
the castle has been robbed — 

ENTER Kate, r. 3 e. She remains up r., listening, 

robbed of its plate, of its diamonds, of its countess. Do you 
know what they think ? That we have taken the jewels and left 
the country together. You are branded as a thief. It is best that 
you know exactly how we stand. I have taken you — henceforth 
you are mine. {Roughly.) No screams — no weakness ! Listen, 
I shall flee from here to-night ; I shall leave the whole gang ; and 
for what? For love — love of you. We will start at once. I 
love you, and will not give you up. Come, give me your hand ; 
delays are dangerous ; delay means — {Starts toward Alice.) 

Kate {comes down c, between Jura and K\aq.^. Many awk- 
ward things. 

Jura {recoils^ astonished). Kate ! {Roughly.) What brings 
you here ? 

Kate (c, defiantly). The fiend, perhaps. Ah, you thought to 
play me a trick. You should have known me better. {Triuin- 
phaiitly^ You have failed, George ; the game is mine. 

Jura (r. ; quickly draws revolver and shoots Kate, who 
screams and falls c. Jura r. c, behind Kate, bej^ds over her 
just as he did over Captain Wyndham in first act.) Curse you ! 

Alice (l. c. ; screams). Ah, I know you now — you are the 
murderer of Captain Wyndham ! {Points to Jura, ^vho recoils in 
astonishment?^ \Flash lights full zip for Picture. 

Picture. * 

Jura. 

Kate. Alice. 

R. c. l. 

CURTAIN. 



50 My Lady Darrell; 



ACT IV. 

SCENE I. — A London street in i G. As curtain rises ^ 
ENTER Mrs. Paisey, ivith valise, ^., followed by Paisey, 
carrying a carpet-bag; both arguing. 

Mrs. Paisey (l.). I tell you, Paisey, I'm not going to leave the 
country until ye hev done it. 

Paisey (r.). But, Martha, jest think of the risk ! 

Mrs. p. (conte7nptiiou,sly). Bah ! you're a coward ! 

Paisey. Well, ye may call me a coward, but I don't like to 
do it. 

Mrs. p. {arguing^. I tell ye, there's no danger. 

E-USEY {not convinced^. Well, if ye don't think there's any 
danger, do it yerself. 

Mrs. p. {looks at him quickly in disgust^. That's just like a 
man, — trying to shift everything onto the poor, weak woman. 

Paisey. Well, it don't take much strength to carry a little piece 
of jewellery to the pawn-shop. 

Mrs. p. {decidedly). You're the man ; it's your place to do it. 

Paisey {trying to mollify her). Well, wait till we get to 
America. 

Mrs. p. {positively'). You're a fool ! Here we are jest goin' 
to get out of the country ; and if ye pawn it here, and anything 
does come of it, why, when they look fer us, we're gone thousands 
of miles across the ocean. No, here's the place to do it, and do 
it ye must. 

Paisey {resigned). Well, if I must, I must; but it seems like 
stealin'. 

Mrs. p. {almost screams). Stealin' ? Do ye know who it 
belongs to ? 

Paisey. Why, to the child, of course. 

Mrs. p. To the child, indeed ! And pray, what's to pay us for 
her keep all these years ? 

Paisey {meekly). Why, the money her mother give us. 

Mrs. p. {tosses her head). Wasn't enough to pay for her 
clothes. 

Paisey {surprised). Why, it was five hundred pounds ! 

Mrs. p. Well, if it was; look at all.the years I've given her a 
mother's love and care. 



Or, A Strange Marriage^ 5t 

PaiseY (doggedly). Yes ; and the whip. 

Mrs. p. {snappishly). Shut up ! Now, for the last time, will 
ye go pledge the locket ? 

Paisey {resigfied). Yes; I guess Til do anything for peace. 
Where shall I say I got it ? 

Mrs. p. {thmks a uioinent). Why, say a rich lady give it to ye 
for stopping her runaway horses. 

Paisey {looks at her). Yer mighty ready with lies. 

Mrs. p. {snaps him up). Will ye shut up .? Go find the shop ; 
I'll wait fer ye at the tavern. And, mind ye {warningly), don't 
be long. {Takes carpet-bag from Paisey, and EXIT l. i e.) 

S^READYTo^Y to enter L. 

Taisey (r. c. ; looks cautiously a?-oundj takes locket from 
pocket J looks at it). Well, the old woman can say what she likes, 
but to my mind it's little short of stealin'. How well I remember 
the night the poor lady knocked at our door. How my breath 
almost left me when I opened the door and found her lyin' on the 
step, with her wee baby in her arms ! We took her in, but she 
was too far gone to tell us anything — just lay there as white as 
death, with her great eyes starin' as if askin' for help. When all 
at onct the old woman recognized her, and went to scoldin' and 
jawin' at her for runnin' away, and then comin' back with her 
shame. She just managed to gasp out there was no shame ; she 
was a wife ; her baby's father was a nobleman. Then, as if it 
was too much for her, she lay back and died. How the old woman 
did go on about havin' the body in the house, and what to do with 
the brat, as she called it ; but she soon changed her mind when she 
found the roll of bank-notes and this locket. Well, the child has 
plenty now, and she will never miss this little bauble. {Stands 
looking at locket.) l^READY Policeman to enter l. 

ENTER Toby l., during Paisey's speech; walks cautiously 
over to him ; looks over his shoulder j sees locket; whistles 
with surprise. 

{Turns quickly; puts locket -in pocket.) Well, what do ye want? 

Toby (L. c. ; sulkily). Nothin'. {Coaxingly.) Now, don't get 
mad, old bloke. I jest couldn't help whistlin' when I see that 
bloomin' locket. All studded over with diamonds. It's a beauty ! 

Paisey {defiantly). Well, it's mine. 

{^READY^OY and Dale to enter l. 

Toby. Well, I didn't say as how it wasn't. {Insi^iuatingly.) 
Blow my bloomin' eyeballs, but I've a friend as would be glad to 
see that gem ! 

Paisey {eagerly). Have ye? Well, that's just what I want to 
find — I want to sell it. 



52 My Lady Darrell; 

Toby. Ye does ? {Quickly.') Sh ! 

[Policeman ENTERS l., crosses iii frotit., eying them 
suspiciously., and EXIT R. 
Paisey {aside., looking after Voiaq^u. am., fearfully). I'm sure 
he knows something is wrong, by the way he looked at us. 

Toby {crosses r., ift fro fit of Vaisy.y, looking after Policeman ; 
aside'). That bloomin' peeler looked suspicious. {Turns to 
Paisey.) I say, if yer want to find a nice, obligin' gentleman 
what will buy yer jewellery, why, come along with me. I'll show 
yer his shop. 

Paisey. You're very kind. Is it far? I haven't much time. 
Toby. Just down the way a bit. {Points r.) Come with me. 
{Takes Paisey's ar?n^ 

\_They EXEUNT r., talking ad lib. as they go. 

ENTER Roy and Dale, l. 

Dale (l.). My dear Roy, for Heaven's sake, try to have 
patience. 

RtTY (r.). Patience? How can you preach patience at such a 
time ? {He is walking back and forth excitedly.') 

[READY Sir Geoffrey, Kate, andVioi^A, to enter r. 

Dale. But, old fellow, your brain will give way under this 
strain. Think, you have been on the go for two nights and days, 
with scarcely a bite to eat, and not a wink of sleep. 

Roy. I feel as if I shall never sleep again. I did not know 
how I loved her, until I lost her. 

Dale {drily). That 's usually the way. {Cheerfully.) But 
cheer up, old chap, we shall find her, I feel sure of it. The whole 
police force is on the lookout for Jura ; the docks and railway 
stations are all guarded by detectives. He cannot leave London. 
He is caught like a rat in a trap, and sooner or later we shall lay 
our hands upon him. 

Roy. But in the meantime, Alice — Alice is in his power. 
What may he not do ? I shall go mad. {Goes l., to Dale.) 

Dale {looking r.). By jove, look ! Here comes Sir Geoffrey 
— and who is this he has with him ? 

ENTER Sir Geoffrey, r., leading Kate, whose head is ban- 
daged. ViO'LA follows them. She is veiled, a7id keeps in the 
background., listening to what the others say. 

Sir Geoffrey (c). Good news ! Good news ! 
Sir Geoffrey, c. 
Viola, r. Kate, r. c. Roy, l. c. Dale, l. 

Roy. Quick ! In Heaven's name, tell it. 

{READY Vky^yx, to enter r. 



Otf A Stfan§:e Maffia§:e« 53 

Sir G. After you had started for London, this poor girl re- 
vived. I questioned her, and she has told me all, — how the vil- 
lain shot her down, then escaped, taking your wife with him. But 
we shall soon have him in our power, and your wife in your arms, 
for this girl will lead us to his hiding-place. 

Roy [to Kate). You know it,? 

Kate. Yes ; the Beggars' Paradise. 

Viola {aside). I, too, know where it is. I must warn my 
brother. {EXIT, quickly, R.) 

Roy. Let us lose no time. 

Dale., Hold on ; we must have a sufficient force of police, 
first. 

Roy. I shall wait for no police ; you and Sir Geoffrey can 
follow with them. 

ENTER Paisey, r., talking as he coines. 

Paisey. Oh, I've been robbed, I've been robbed ! {Crosses 
past Kate and Sir Geoffrey; to Roy.) O Lord Darrell, I've 
been robbed ! You will help me, won't you, my lord ? 

Sir. G. {ifn^atiently). My good man, we are sorry for you, but 
we have important matters to attend to ; you must ask the police 
to help you. 

Paisey. Oh, I asked a policeman down the street ; he said 
he'd find the thief, but I know it's no use. Oh, whatever shall I 
tell the old woman ? 

ENTER Policeman, r., dragging Toby ; he brings Toby to 
R. c, crossing in fro7it ^Kate. 

{Sees Toby ; crosses quickly to Si-R Geoffrey.) Oh, there he is ; 
they've caught him! {To Toby.) You rascal, to rob me! Give 
me my property ! 

Kate, r. c. 

Policeman. Toby. Paisey. Sir G. Roy. Dale, l. 

Toby {sullenly). Your property? I ain't got no property o' 
yourn. 

Paisey. Yes, ye have — that locket. Give it up. 

Toby. Will you let me go if I do ? You won't appear ag'in 
me ? 

Paisey {eagerly). No, no ; I won't appear. Jest give me the 
locket. 

Toby {gives locket). Well, there it is. 

[Paisey holds locket in l. hand. 

Sir G. {sees locket j very 7}iiich excited j takes it from Paisey's 
hand.) Where did you get this ? 

Paisey {confused). Why, I — I — 



54 My Lady Darrell; 

Sir G. {sternly'). No lies — I know this locket. Tell the 
truth, or I will hand you over to the police. 

Paisey {ii7iplo7'mglyy O Sir Geoffrey, please don't; I'll tell ye 
all. My wife took it from the neck of a poor lady as died in our 
house, where she came asking for shelter for herself and her baby. 

Sir G. She is dead ? 

Paisey. Yes, Sir Geoffrey. 

Sir G. {quickly'). And the baby? 

Paisey. My wife and I raised her as if she was our own. 

Sir G. {i7npatiently). Where is she now ? 

Paisey. She is Lord Darrell's wife. 

Sir G. Merciful Heaven! {To Roy.) Lord Darrell, you need 
feel no shame on the score of your wife's origin. She comes of a 
family as good as your own. {Looks at locket.) She is the 
daughter of my eldest son who ran away and married a poor girl. 
He died abroad. I have searched for years for his widow and 
her child. The mother is dead, but I have found the child by 
means of this locket. {Thinks suddenly.) Found, did I say? I 
had forgotten — she is in that villain's power. 

Pajsey {appealingly to Sir Geoffrey). Can I go, my lord ? 

Sir G. Yes, go ; and be thankful that I can find some excuse 
to forgive you for robbing the dead. 

Paisey. I'll reform. I'm leaving for America. {Crosses in 
front of Roy and Dale, to l.) Thank you, my lord, thank you. 
{EXIT I.. I E.) 

Sir G. {to Policeman). Lead us to the nearest police-station. 

[Policeman, with Toby, crosses i^i front ^ Kate to r. 

co7'ner. 

{To Roy and the others.) Come ! {Crosses in frotit of Kate to 

R. c.) [Kate comes c. 

Kate, c. 
Policeman and Toby, r. Roy, l. c. 

Sir Geoffrey, r. c. Dale, l. 

Roy {taking Kate by the hand). No, this girl and I will go 
on ahead ; you can follow with the officers. Crosses in front of 
Dale, with Kate, to l.) 

Dale (c). Wait for the police; it's safer. 

Roy. Safer ! Do you suppose I can think of safety with my 
wife in that villain's clutches ? I am going to her rescue, if it 
takes the last drop of blood in my veins! {To Kate.) Come! 
{Drags her off'L.) 

Sir G. To the police-station ! 

\_EXEUNT Policeman, Toby, Sir Geoffrey, and 
Dale, r. i e. Flats are drawn off., disclosing 



Or, A Strangle Mamag-e. 55 

SCENE II. — The " Beggars' Pa7'adise " — a rough kitchen will 
answer. For settings see scene-plot. Lights half down. 
Mother Cripps is DISCO VERED seated at table l., peel- 
ing potatoes. She croons constantly. On the table is a 
bottle of whiskey., from which she takes an occasional drijik. 
READ VFovR Supers and ]ijra, to enter c. 

Mother Cripps. My boys will soon be home to supper. Ah, 
ha, good boys ; they bring the old woman money, he, he, he ! 
They always bring her money. When they can't steal, they beg ; 
but they always bring money. So they must have their supper 
— good boys, good boys ! {Knock at door j she starts np.) Who's 
there ? 

Voice {outside). Open, Mother. 

Mother C. He, he, he! the boys — the boys with money. 
{Opens door c.) 

ENTER Four Supers, c. One has a shade over his eyes, and 
wears a placard, Help the Blind ; another has a wooden 
leg J another carries a pair of crutches j another has one 
arm concealed within his shirt. Wheji they are inside, they 
take out ar??t, throw away shade, wooden leg, placard, 
crutches, etc., up stage near steps j all laugh. She bolts the 
door. 

Good boys, good boys ! Well, what have ye got for the old woman .? 

\_Ojie after another they give her coins, etc. 
{To one.) Good, good ! {To another.) Bah, that isn't so good ! 
Trade is bad — well, go lie down till I get supper. 

[Supers lie down arotmd rear of stage. 
{Goes to table, l. ; takes a drink from bottle j sits down to peel 
potatoes J muttering.) Trade is bad — trade is bad ! 

\_Knock at c. door. 
Who's there ? 

Jura {outside). It is I, Mother. Come, hurry! 

[Mother Cripps goes -up and tinbolts the door. 

ENTER Jura, c. He comes down r. c. Mother Cripps 
closes and bolts the door. 

Mother C. Well, George ? 

Jura. Well, what? 

Mother C. {coming down c). Any news of Kate.-* 

Jura {roughly). Yes ; she was shot by the police after we got 
away from the abbey. 

Mother C. {screafns). What! My Kate, my daughter shot? 
(/;/ a fury.) Curses on the bloodhounds, to shoot down a girl ! 
Oh, I'll be even with them, curse them all! 



56 My Lady Darrell; 

Jura. Be careful of your curses ; keep them for some other 
time. I want you to get Nathan here to-night. 

Mother C. What for, George ? 

[TiEAI) V A1.ICE, to enter L. 3 e. 

Jura. Sh ! {Lays hand upon her armj in a low tone.) I 
have the diamonds to sell him. 

[Mother Cripps chuckles^ and nods her head gleefully. 
Where's the girl ? 

Mother C. {points l.). In there. 

Jura. Bring her here. 

Mother C. What are you going to do with her.? 

Jura {roughly). I am going to tame her — then I'll take her 
abroad. 

Mother C. {warningly). Be careful, George. Many a good 
man has been ruined by a pretty face. 

Jura. Attend to your own affairs ; bring her here. (^Points to 
door L., the7t goes r.) 

Mother C. Have it your own way, have it your own way! 
{Goes to door L. a7id unbolts it j EXIT; comes back, leading 
AlicEj, who is i7i ?'ags.) 

Jura. How beautiful she is, even in rags ! Good-evening, 
Lady Darrell. 

Alice (c, with dignity). By what right do you keep me a pris- 
oner here ? 

Jura (r.). By right of might. 

[Mother Cripps r. of table, listening. 

Alice {commanding). I demand that you set me free at 
once. 

Jura. What ! Where do you wish to go — to your friends ? 

Alice {sadly). Friends? I have no friends. 

Jura {7nockingly). Perhaps you wish to return to your hus- 
band — your loving husband, who is so taken up with Miss Vaughn 
that he hasn't found time to hunt for you. Why, I'll wager they 
are even now planning their marriage, glad that you are out of 
their way. 

Alice {scarcely k7iowing what she says). They cannot marry, 
I am his wife. 

Jura {laughs). Oh, you mean you were his wife; you seem to 
forget there is a divorce court in England. Remember what I 
told you of the robbery? I took good care to make it appear 
that you had stolen the diamonds and eloped with me. Lord 
Darrell will find that sufficient grounds for a divorce, I fancy. 

AiACY. {draws herself up). You coward — to rob, and then 
attempt to throw suspicion upon an innocent woman ! My hus- 
band invited you to his house ; you were his guest. He treated 



Off A Strangfe Marriagfe. 57 

you as his friend, little knowing that he was harboring a common 
thief — a murderer ! 

Jura {angrily^. Take care! 

Alice {fearlessly). It is the truth ; you are worse than the 
lowest of criminals, — you are a traitor! a dog that bit the hand 
that fed it ! 

Jura {threatenmg). You shall repent those words ! 

Mother C. Leave her to me. {Starts at Alice.) 

[Alice screa?ns and shrinks from her. 

Jura {motions Mother Cripps back). No; stand off. {To 
Alice.) Now, listen to me. We leave this place to-morrow for- 
ever; I shall take you to a foreign country. You can go quietly 
if ypu will ; if not, it will be the worse for you. I have made up 
my mind to take you, and go you shall. If you go peaceably, I 
promise you that as soon as Lord Darrell gets his divorce, I will 
marry you. 

Alice. Marry j/(9//;/ Never! Were you to torture me until 
the last breath left my body, with that breath I would refuse ! 
You are the most contemptible of villains, — a hypocrite who lacks 
the courage to appear in his true colors, but masquerades as a 
gentleman, so that he may hide from his unsuspecting victims what 
he really is, — a thief ! 

Jura (/;/ a rage). Mother Cripps, put her in the black hole I 
We'll see if a few hours alone with the rats won't tame her, {Up 
to door R.) [Mother Cripps starts at herj Alice screajits. 

Alice* {in ten-or). No, not that ! 

^XiViK {laughs). In with her! {EXIT door 'K.) 

SPREAD Y Roy to enter c. 

Mother C. {seises Alice by wrist., and throws her around l. ; 
Alice sinks tipon floor up near l. door.) Here, none of that. 
{Looks at her.) Ye're not faintin', ye're only shammin'. {Looks 
at her again j kicks her.) I believe she has fainted. {Goes to 
table ^ gets bottle, and is about to give Alice some whiskey ; stops.) 
No, no ; she'll come to all right - — I can't waste good whiskey. 
{Di'inks fro?n bottle ; sits at table., peeling potatoes j takes an- 
other di'ink ; is getting drunk; nnitters to herself Note: a 
great deal can be made of this scene, if the old wojnan plays it 
slowly, talking and muttering ad lib., taking an occasional pull 
at the bottle, etc.) Get up from there ! I've got to get my boys' 
suppers. D'ye hear me ? Get up out of that. {Drinks.) I'll 
wager ye'll get up if I come to ye. {Dri^iks.) D'ye hear me ? 
Get up out of that. {Rises fro?n table ; steadies herself j goes to 
Alice ; kicks a7id shakes her.) Get up, I say ! 

[Alice revives gradually. 
Get up, I say ! 



58 My Lady D^ffcII;' 

Alice [rises ^ assisted by Mother Cripps ; pleadingly). No, 
no ; don't put me in the black hole ! 

Mother C. Ye're to go into the black hole — it's orders. 
Come on, I say. {Drags Alice, who begs to be released, talking 
ad lib. EXIT door l.) 

[ Whe7i they get off, noise of a blow is heard, and Alice 
screams. Knock heard at door c. 
(Mother Cripps comes out from door l.) Who's there .'' 

Roy {outside). Me, Mother ; open the door. 

Mother C. That voice sounds strange. {Bolts l. door; goes 
up, 7inbolts and opens c. door.) 

ENTER Roy c, disguised as a beggar. 

{Stops Roy on steps.) I don't know you. Wl?o are you? 

\^RE A D Y ]\]v.K andY\o\.A, to enter r. 3 E. and Q. 

Roy {quickly). A new boarder. Mother; the cops are after me. 
See, I have money ; hide me, and I'll pay you well, {f ingles 
handful of coins?) 

Mother C. Well, if ye've money, and the police are after ye, 
I gu€§s ye're all right ; come in. 

[Roy comes down steps j looks about stage. 
{She bolts c. door, and comes down L. of Roy.) Now, give me the 
money. [ROY gives her money. 

Go lie down till supper's ready. 

[Roy starts toward "L. door j crosses in front of Mother 
Cripps, who catches him by the af'm. 
No, no; come away — ye mustn't go there. Lie down here. 
{Points up stage where Supers are lying.) 

[Roy goes up stage and lies down. 
He, he, he! A new boarder. More money — more money for 
the old woman. {Goes toward table?) \_Knock at c. door. 

{Stops ; listens in fear.) Who's there.'* Maybe it's another new 
boarder. Who's there? 

Viola {outside). Open the door, quick ! 

Mother C. A woman ! {Goes up c. to foot of steps.) Who 
do ye want to see ? 

Viola {outside). George. Open quick — quick, do you hear? 

Mother C. Of course I hear. Wait a minute. {Goes to r. 
door and calls:) George ! 

Jura {outside r.). Well, what is it? 

Mother C. Come here ! 

ENTER Jura, r. 3 e. 

There's a woman at the door, askin' fer ye. {Points to c. dooK) 
Jura. A woman? {Crosses in frojzt of Mother CKYB^SyWko 



Or^ A Stfang:e Mama§;e» 59 

drops down L., and goes quickly to c. door.) Who are you, and 
what do you want ? 

Viola {outside). It's I ; I want to see you. 

Jura. Viola ! {Unbolts and opens c. door.) 

ENTER Viola quickly., c. She comes down steps to c. Jura 
bolts c. door., and comes down r. ^ Viola. 

Viola. George, you must escape — the poHce know your hid- 
ing-place — they may be here at any moment. 

Jura. The Devil ! How did they discover it? 

Viola. Kate — {^READY Aiace. to enter l. 3 e. 

Jura {puts his hand over her mouth). Hush ! {Takes her 
to R. corner.) Now, tell me ; speak low. 

VIOLA. That girl Kate told Sir Geoffrey and Roy. I fol- 
lowed and overheard her. 

Jura. She isn't dead ? 

Viola. No — quick, George — escape while there is time. 

Jura. You are right, {Crosses in front ^* Viola, to q..\ to 
Mother Cripps.) Mother, get the girl. 

[Mother Cripps starts l., unbolts door., and EXIT l. 3 e. 

Viola (r. ; in alarm). George, you surely won't try to carry 
her off ? 

Jura (c). Certainly; I wouldn't give her up now if it cost me 
my life. 

Viola. But it will be too great a risk. 

Jura. Do you want me to leave her for Roy Darrell ? 

Viola {vindictively). You are right — take her. 

ENTER Mother Cripps, l. 3 e. dragging Alice, who struggles. 

Jura (r. c. ; takes hold of Alice). Come, Lady Darrell, we 
won't wait for to-morrow — we start to-night. 

Alice (c). I will not go with you. 

[Viola, r. Mother Cripps, down l. 

Jura. I say you must ! 

Roy {jumps dow?t stage; throws Jura off r. ; stands between 
hi?n and Alicy.). I say she shall not ! 

Jura {surprised). Who are you? 

Roy {throws off disguise). Roy Darrell! 

Steps, c. 
Beggars. Beggars 

Roy. 
Jura. Alice, 

r. Viola. Mother Cripps, l. 



Jura } . .7 ( The Devil ! 

i^ y tmrether. i _ 

Viola 



} together. "^^ ^^^, 



60 My Lady Darfell; 

Alice. Roy ! My husband ! 

Jura. Up, men, up ! \_All the Beggars have risen. 

Seize that man ; he is a police spy ! 

[Beggars seize Roy, who struggles. 
Bind him ! 

[Beggars tie Roy. Alice tries to help him. Mother 
Okvyvs, seizes her J struggle j forces Alice ^L. 3 e., 
and bolts door. 
Tie him to that post ! 

[Beggars tie Roy to post at steps, c. Work this quickly. 

Jura {laughs j to Roy). You came for your wife; you found 
her ; but you shall see me carry her away, {Starts towardi.. door.) 

Viola {stops hijn, in terror). No, no, George ; don't attempt 
it ! {Lays hand upon his arm.) Save yourself — don't let your 
blind infatuation ruin your chance of escape. 

Mother C. (l.). Remember what I told you about a pretty 
face. [Jura stands c, u?idecided. 

Viola {appealingly). Come, George, you have the diamonds, 
be satisfied. , Am I not leaving him ? Come. 

JU-^rA. Very well, I'll do as you ask. {Points to c. door.) 

[Viola ascends steps., unbolts door., a7id stands waiting 
for Jura. 
{To Roy.) Curse you, Roy Darrell ! I'm taking the Darrell dia- 
monds, see? {shows case), but I'm leaving behind the most price- 
less gem of all. {Points to L. door.) But if I don't possess it, 
neither shall you. {To Mother Cripps.) Do you want revenge 
on the man who killed your daughter? Well, you can have it — 
there he is. {Points to Roy.) 

Mother C. He? 

Jura. Yes, he. 

Mother C. {takes knife from bosom). I'll kill him ! 

Jura {raises his hand to stop her). That is too easy a death. 
Listen. The police are coming — we must leave this den forever 
— burn it — let him roast — there's revenge for you. 

Mother C. I'll do it ! I'll do it ! 

Jura. Off with you, men ! 

[Beggars EXEUNT tip steps, and off q. 
{Hesitates). How can I leave her ! 

Viola. Come ! [PEADV Alice, to enter l. '3 E. 

Jura {starts up c. ; to Roy). Good-by, Lord Darrell. Some 
people say there's no hell, but when these old timbers get started, 
you'll think differently. Would you like to know who killed Cap- 
tain Wyndham? I did it. Yes, it was I, but the stain is on your 
name, — the stain of blood. {Laughs ; goes up steps to c. door.) 

{EXIT Viola, t., READ Y to re-e?iter. 



Or, A Strange Marriage* 6t 

Good-by, Lord Darrell, and a pleasant journey to hell. {EXIT, 
C, READY to re-enter.^ 

Mother C. (l.). So you killed my girl? Curse you, I'll make 
a good warm fire for you. {Gets candle from table l., and holds 
it in front of his face ^ Oh, you're very brave! But when the 
flames creep upon you, when you see your last minutes come, 
when your throat is parched and dry — just think of my poor girl, 
my girl, my girl, that ye killed, killed ! But I'm going to kill you, 
he, he, he ! {Starts to door R.) Yes, I'm going to make ye a bon- 
fire, he, he, he ! {EXIT, r. 3 e.) 

[Roy strtiggles to free himself. 

m 

RE-ENTER Jura, c. 

Jura. I can't do it — I can't leave her. {Crosses to l. door j 
unbolts it J EXIT, L. 3 e. ; RE-ENTERS with Niaq.^, forcing 
her c.) Come, come, my beauty. I'll take you if all the police 
in England stand in the way, 

Alice. Let me go ! Let me go ! 

\They struggle and talk ad lib.; Alice breaks away 
frojn him and runs around table, l. ; he follows to 
table ; Alice gets knife that Mother Cripps used 
for peeling potatoes. 
Stand off — or, as there is a heaven above, I will kill you ! 

[Jura stands at bay. 
Roy {has sictceeded in getting gag off ^. Alice, Alice, cut these 
ropes. 

\jShe runs quickly to Roy; cuts ropes. READY to en- 
ter. Mother Cripps r. 3 e. ; Dale, Sir Gboffrey, 
Kate, and two Policemen, c. 
{To Jura.) Now, you cur, it is your life or mine! {Throws off 
coat.) 

Jura {throws off coat). So be it; the man that wuns gets the 
prize. {Points to Alice.) 

[Jura and Roy have a fist fight ad lib.; at last they 
clinch a7id roll over down stage. Jura getting Roy 
under. Alice picks up Beggar's crutch and strikes 
Jura on the head ; he falls r. 

Alice. Come, Roy, come! {Gives hint her hand and assists 
him to his feet.) 

[Alice and Roy start tip c. Jura rises on one knee, 
draws pistol, and shoots just as they reach the foot of 
the steps. 
Jura. You sha'n't escape me ! {Shoots.) 



62 My Lady DarrelL 

ENTER Viola, c. She receives Jura's bullet, staggers, and 
falls tip R. c. at foot of steps. Fire {red fire') gff r. 3 e. 
ENTER Mother Cripps r. 3 E.y she goes r. c. ENTER 
Dale, c. ; he cojnes down a)id disarms Jura, who is about to 
fire again. ENTER Sir Geoffrey, Kate, and two Po- 
licemen, c. One ofiicer goes off r. 3 e. to extingtiish fi?^c ; 
the other handcuffs Jura. Work this very rapidly. 

Viola, ilP r. c. 
Mother Cripps, r. c. 
Policeman. Dale. Roy. Alice. 

R., Jura. Kate, c. Sir Geoffrey, l. 

Kate {to Jura). George, I swore to be even with you ; I have 
kept my oath. 

Roy {to Sir Geoffrey). Sir Geoffrey, there is the murderer 
of Captain Wyndham. 

Dale {raises Viola's veil). Why, this is Viola Vaughn ! 
Alice. Yes ; she is the sister of George Vaughn, whom you 
knew^s Count Jura. 

Dale {picks tip case of diamonds, r. c). And, by Jove, here 
are the Darrell diamonds ! {Gives thetn to Roy.) Roy, you are 
fortunate in recovering them. {Goes up c.) 

\Y^Ki:^ goes a little r., looking at Jura, who glowers at 
the 7/ 1 all. 
Roy {takes Alice's hand). I am indeed fortunate, for I have 
recovered the most precious of all gems, — My Lady Darrell. 
\_fust as the curtain is coining down, Mother Cripps 
tries to escape up c. Dale catches her by the ear, 
and leads her down l. to position for curtain. 

PICTURE. 
Viola. 
Policeman. 

Kate. Roy. Alice. Sir Geoffrey. 

R., Jura. Mother Cripps. Dale, l. 

CURTAIN. 






F? NEW PARTNER. 

A Comedy=Drama in Three Acts, by Levin C. Tees. 

PfLXOZEl, 25 0£3»r'X*S. 



A realistic play of contemporary interest. It abounds in good 
sentiments ; has well-drawn, lifelike types of character, a strong 
plot, moving episodes, and some roaring comedy scenes. There 
are some particularly fine passages in the second act that will 
fetch enough applause for a dozen plays. Can be played in any 
•hall, and may be counted on as a sure hit. 



i 



CAST OF CHARACTERS. 

Jambs Harcourt. a rich manufacturer First Old Han. 

John Cartwright, superintendent of the factory ; a 

man of the people Leading Man. 

Robert Ferguson, the new partner; a man of the world .Genteel Heavy. 

Dr. Paul 'Pottvm, jolly and partial to hypnotism Eccentric Comedy. 

Jake A bbott, the leader of the strike Eccentric Character. 

Ebenezer Bellows, a dark ' ' subject " , Ethiopian Comedy. 

JohS \ ^^'^^"^^^ »»^ *^« factory j Utfllty''^° Character. 

Mrs. Harcourt, a butterfly of fashion First Old Woman. 

Kate Harcourt, the petted child of fortune, who has 

an awakening to love and duty , . . . .Leading Lady. 

Bessie Conway, a slave of toil,. Character Part. 

Mrs. Potter, whose specialty is skeletons Eccentric Comedy, 

Time of Representation, Two Hours and a Half. 



SYNOPSIS OP INCIDENTS. 

ACT I.— The Belle's Birthday. Harcourt's mansion in New York.— Speed- 
ing the parting guest.— A morning call.— The gathering storm.— A daughter 
of fortune, and a son of the people.—" Our future son-in-law " drives a pretty 
close bargain.— Bellows collapses.— The price of safety.— An explanation.— 
Master and man.—" Yes, we will speak of this again ; and pray Heaven it 
may not be too late ! "—Tableau. 

ACT II.— At the Factory, An agreeable surprise.— A fleeting dream.— 
Old Conway's story.— Cartwright's resolve.— The new partner and the bride 
elect.— "My daughter" asserts herself.— "I did not know until to-day, that 
people live on three dollars a week."— A spirited argument.— The superin- 
tendent's appeal for the workmen.— The walking delegate.— Charity vs. jus- 
tice.-" Supply and demand you see, sir."— Cartwright resigns on the spot.— 
"It is too late— the strike is on ! "-Insult and defiance.— Picture. 

ACT III.— Home Again. Preparing for festivities.— The doctor mesmerizes 
the darkey, with startling results.- Mrs. Potter to the rescue.— Kate's awak- 
ening to love and duty.— "Angels In dress coats."— An unexpected reckon- 
ing.—" Release that lady ! "—A broken troth and a dissolved partnership.— 
The working-man's friend.— Bellows has another scare.— " My new partner, 
Mr. Cartwright, vice Mr. Ferguson, resigned."— The end of the strike.— Happy 
denouement. 

^^ Copies mailed, post paid, to any 
address, on receipt of the price. 



i 



HAROLD ROORBACH, Publisher, 132 Nassau St., New York. 



AlVOTHER «I>EACON.'» 



Josiah's Courtship 

A FARCICAL COMEDY- DRAMA IN 4 ACTS 
By HORACE C DALE. 



A broad-gauge play written on the lines of The Deacon. Requiring but little 
scenery, it can be produced in any ordinary hall, and is specially recommended to 
dramatic clubs in want of a new play with good comedy features and forceful, but 
not too heavy, straight " business." Hilarious mirth alternates with deep pathos, 
and the numerous striking situations of ever- varying character cannot fail to make 
the play go. The act endings are particularly good, producing uproarious merriment 
and curtain calls. While the play abounds in taking farcical " business," there are 
a number of good, strong scenes that afford scope for much dramatic action and wli* 
call forth the best efforts of all the persons in the cast. 

CAST or CHARACTERS. 

JOSIAH PERKINS, brusque and fickle Eccentric Old Maw 

THOMAS HART, a young lawyer in love with Edna Leading Gentleman 

RICHARD ROLAND, supposedly wealthy, but heartless and scheming, Genteel Heavy 

HARRY SHARP, a detective, pierced with Cupid's Dart Walking Gentleman 

JOE, a mischievous newsboy Juvenile Comedy 

MIKE, Jp?siah's valet Irish Dialect Comedy 

JEFF, Priscjlla's man-of all-work Ethiopian Comedy 

PRISCILLA BROWN, whose affections are centered In Joslah. . .Eccentric Old Maid 

EDNA, her niece, with a penchant for Mr. Hart Leading Lady 

BIRDIE, an "angel" who flirts -. C.'.Soubrettk 

MRS. BLACK, a childless widow Walking Lady 

Time, the present. Place, Richmond, Va. Timh op Playing, 2 hours. 

SYNOPSIS OF INCIDENTS. 

ACT I.— Parlor at Priscilla Brown's— A kettle of fish— Joslah gets an " angel " to 
fix him up— A mistaken embrace and a total eclipse—" Bah, he's been eatln' onions !" 
— A dusky prophet — The girls' compact — "I's wid yo', pard, ebery time ; we'll turn 
dis yere house upside down "—Sharp, the detective— The " angel " gives some good 
advice— A wronged and childless widow— " A woman's business "—The rival suitors— 

An altercation — Jeff's plans begin to work — " Curse you, I'll "—Consternation 

~ Picture. 

ACT II.— Sharp's oflQce— The detective and the " angel "—A photo In evidence— 
A trick on the Irishman— Josiah gets excited again— Joe gives the old man a " tip "— 
An embarrassing predicament— A providential interruption— A few " p'inted " ques- 
tions — The " angel " offers some more good advice — '* Is that young rascal trying 
to cut me out ? " — The story of Josiah's life — An old man's darling — Priscilla scents 
a mouse — An undress rehearsal— Out of the frying-pan into the fire. 

ACT III.— Back at Prlsoilla's— Another embarrassment for Josiah—" By golly, 
dis am a debbil ob a muss ! " — Priscilla in war paint — Reconciliation — More trouble 
for Jeff — " I'm in love up to my eyebrows ! " — A spring chicken and an old hen — A 
bit ter encounter — Defiance — Josiah makes a bargain with the " angel " — Confusion 
worse confounded. 

ACT IV.— Scene as before— A vote of confidence— A few more pointed question* 
-" Ef dar's gwiue ter be a 'splosion, dis coon will see de fun eben ef he gits blowed 
up "— Mike on a tear —Josiah's ultimatum— A father's confession and an unexpected 
guest— The " 'splosion "—Tom's exculpation— The biter bit— Father and son— Priscilla 
relents— "Call in the preacher and let's all be happy !"— The remnants of Mike— Finale^ 

S^'Copies will be mailed, postpaid, to any address on receipt of the price. 

HAROLD ROORBACH, Publisher, 

132 Nassau Street, New York. 

* * ♦ Every club that has played "The Deacon" 'wants ♦'Josiah's 
Courtship." It vrill pack the house like a box of sardines. ^ ^ ^ 



nimfnTim 



GOLDEN GULCH. 



An Original Drama in 3 Acts, by Charles Townsend 



PRICE 25 CENTS. 



A new play, with a romantic "Western theme, f uU of brisk action, exciting 
siluatious and thi-illiug incidents, and fairly bubblmg ever with that bright 
tun tor wtiich its author is justly famous. The wide range of its charactt-rs 
commends the play to dramatic clubs, and the staging is quite simple— but 
two scenes being required. The movement lias a swing and liveliness that 
always please; there are no talky love scenes; the characters are sufficiently 
^diversifled to meet any demands; there is an abundance of comic "busi- 
ness"; the act-endings are snappy; there are just enough sensational 
features to sstisfy the popular taste. The ccnsiruetion leaves nothing to be 
desired— the plot is laid in the first act, reaches a climax in the second, and 
explodes In the third. The author believes that this will prove tibe most 
popular of all his Western plays. 



CAST OF CHARACTERS. 

Frank Evarts A goverrvmen* 2cotit 

George Dixon " Gentleman George," an outlaw 

Fkrgus O'Gooligan Who runs the " Court " 

Petkr Naggle Landlord of the Golden Gulch hottl 

Chummy Litewate A Neiv York blossom 

Broncho Bill A"tough" customer 

One Lung Celestial and sly 

Senator Juniper Toots A cullud polertician, Sah 

Ikey Einstein Alwaiis ready to sell you somedings sheap 

Taxicum Sniffles Whofe strong points are Tracts and " Reform " 

Old Magnus (doubles witli Naggle) ...A degenerate Indian 

Jess Horton A madcap of the Sierras 

Mrs. N agglk Strong-minded, and boss of the shanty 

Miss Matilda Corey A faded flower from " down East" 

ie Time, the present. Place, California. Time of playing, two hours and a 

quarter. 

SYNOPSIS OF INCIDENTS. 

ACT I.— The Golden Gulch hotel.— A musical Chinaman.—" Annie Rooney." 
—A scheme.— The festive dude and the negro politician.— The Jew Peddler.— 
Gentleman George makes a purchase.— Jess and the outlaw.— Frank and 
Naggle compare notes.— "We might hang 'em on general principles."— Old 
acquaintances.— A warning.— The dude on his muscle.— The card-sharper.— 
The tract distributor.— The game begins.— Frank takes a hand.—" Hands up ! 
I hold a trump card !"— " I hold another !" 

ACT II.— Among the hills.— Time, the next morning.— Ireland and Africa 
atwar.- The "noble red man" joins in.— A big scare, and nobody hurt.— 
The missionary makes a trial.—" Big fool ! Wah !"— The false message.— 
The robbery.— Old Ikey in the toils.— The dude investigates and s*rikes a 
hard custorher.— A villainous scheme.— The accusation of murder.—" Stand 
back ! It's my turn now .'" 

ACT III.— At the hotel, one hour later.— Active prohibition,— Toots and 
)'Gooliganonabender.— The Chinese way.— The smashed up missionary. — 
foots makes anofCer.— Frank a prisoner.— Judge O'Gooligan opens court.— 
Getting a jury.-" Tut, tut, now, don't say a word."— The judge presen is the 
case. — Some tough evidence. — The verdict.— The end of '^Gentleman 
George."— Finale. 

B^= Copies will be mailed, postpaid, to any address, on receipt of price, 

HAROLD ROORBACH, Publisher, 

^ 132 NASSAU ST 

luiMljLnillllllliinllllhnAliiiiilm .iillllllMnillillln.nlilllliM illl^ 



NEW YORK. M 



LIBRftRY OF CONGRESS 



TOWNSEND'S 




"AflATEUR THEATRICALS." 

A Practical Guide for Amateur Actors, 

PRICE, 25 CENTS. 

This work, without a rival in the field of dramatic literature, covers the en- ! 
tire subject of amateur acting, and answers tne thousand and one questions that 
arise constantly to worry and perplex both actor and manager. It tells how to ' 
select plays and what plays to select; how to get up a dramatic club— whom to ' 
choose and whom to avoid; how to select characters, showing who should assume i 
particular roles; how to rehearse a play properly— Including stage business, by- 1 
play, voice, gestures, action, etc. • hovr to represent all the passions and emo- 
tions, from Love to Hate (this chapter Is worth many times the price of the book, 
as the same information cannot be found in any similar work); how to costume 
modern plays. All is told in such a plain, simple style that the veriest tyro can 
understand. The details are so complete and the descriptions so clear that the ' 
most inexperienced can follow them readily. The book is full of breezy anecdotes 
that Illustrate different points. But its crowning merit is that it is thoroughly 
PRACTICAL— it is the result of the author's long experience as an actor and man- 1 
ager. Every dramatic club in the land should possess a copy of this book, and no 
actor can afford to be without it. It contains so much valuable information that , 
[ even old stagers will consult it with advantage. 

H ELMER'S 

ACTOR'S MAKE=UP BOOK. 

^A Practical and Systematic Guide to the Art of Making-up for tkt SUtge. 

■^ PRICE, 25 CENTS. 

Facial make-up has Tiuch to do with an actor's success. This manual is a perfect 

' encyclopedia of a branch of knowledge most ess^entiai to all players. It is well 

' written, systematic, exhaustive, practical, unique. Professional and amateur 

actors and actresses alike pronounce it the best make-up book ever published. 

It is simply indispensable to those who cannot command the services of a per- 

I ruquJ«r. 

CONTENTS. 

Chapter I. Theatrical Wigs.- The Style and Form of Theatrical Wigs and 
Beards. The Color and Shading of Theatrical Wigs and Beards. Directions for 
Measuring the Head. To put on a Wig properly. 

Chapter II. Theatrical Beards.— How to fashion a Beard out of Crepe Hair. 
How to make Beards of Wool. The growth of Beard simulated. 

Chapter III. The Make-up.— A successful Character Mask, and how to make 
it. Perspiration during performance, how removed. 

Chapter IV. The Make-up Box.— Grease Paiut . Grease Paints in Sticks; Flesh 
Cream; Face Powder; How to use Face Powder as a Liquid Cream; The various 
sh&des of Face Powder. Water Cosmetique. Nose Putty. Court Plaster. Cocoa 
Butter. Crepe Hair and Prepared Wool. Grenadine, Dorin's Rouge. "Old 
Man's" Rouge. "Juvenile" Rouge. Spirit Gum. Email Noir. Bear's Grease. 
Eyebrow Pencils. Artist's Stomp* Powder Puffs. Hare's Feet. Camel's-hair 
Brushes. 

Chapter V. The Features and their Treatment.— The Eyes : Blindness. The 
Eyelids. The Eyebrows : How to paint out an eyebrow or mustache; How to 
paste on eyebrows ; How to regulate bushy eyebrows. The Eyelashes : To alter 
the appearance of the eyes. The Ears. The Nose : A Roman nose; How to use 
the nose putty ; a pug nose; an African nose; a large nose apparently reduced in 
size. The Mouth and Lips : a juvenile mouth; an old mouth; a sensuous mouth; 
a satirical mouth; a one-sided mouth; a merry mouth; a sullen mouth. The 
Teeth. The Neck, Arms, Hands and Finger-nails: Finger-nails lengthened. 
Wrinkles: Friendliness and SuUenness indicated by wrinkles. Shading. A 
Starving Character. A Cut in the Face. A Thin Face made Fleshy. 

Chapter VI. Typical Character Masks.— The Make-up for Youth; Dimpled 
Cheeks. Manhood. Middle Age. Making up as a Drunkard : One method; an- 
other method. Old Age. Negroes. Moors. Chinese. King Lear. Shylock. Mac- 
beth. Richelieu. Statuarv. Clowns. 

Chapter VIL Special Hints to LA.DiES.r-The Make-up. Theatrical Wigs and 
Hair Goods. 

}^^~ Copies of the above will be mailed^ post-paid^ to any cuUiress^ on \ 
y^^ipt of tfi* annexed prices. . 

HAROLD ROORBACK, Publisher, 132 Nassau St., N. Y. 

!• • •••• • ••••••••— —————— ——fj 



I 



